October 2024: Fractal Audio's VP4 Virtual Pedalboard has been added to the wiki.

Difference between revisions of "Zery uninteresting wiki sandbox"

From Fractal Audio Wiki
Jump to navigation Jump to search
 
(84 intermediate revisions by 3 users not shown)
Line 1: Line 1:
http://wiki.fractalaudio.com/axefx2/index.php?title=mediawiki:sidebar
+
===Tidbits===
 +
* TOC
 +
* * faq
 +
* crosslinks
 +
* redirects
 +
* pic
 +
* layout (template)
  
http://wiki.fractalaudio.com/axefx2/index.php?title=Mediawiki:sitenotice
+
<blockquote>[...]</blockquote>
 +
 
 +
[[mediawiki:sidebar|Sidebar]]
 +
 
 +
[[mediawiki:sitenotice|Sitenotice]]
  
 
<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2;font-size:85%">
 
<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2;font-size:85%">
 +
</div>
 +
 +
[[Special:Random|random page]]
 +
 +
[http://wiki.fractalaudio.com/axefx2/index.php?title=Category:All category ALL]
 +
 +
embed/transclute page:
 +
{{:}}
 +
 +
Example:
 +
 +
{{:Soon}}
 +
 +
<font size=1>Font Size 1</font>
 +
<font size=2>Font Size 2</font>
 +
<font size=3>Font Size 3</font>
 +
<font size=4>Font Size 4</font>
 +
<font size=5>Font Size 5</font>
 +
 +
{| class="wikitable"
 +
|-
 +
! '''Parameter'''
 +
! '''Axe-Fx III'''
 +
! '''Axe-Fx II'''
 +
! '''AX8, FX8'''
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|-
 +
|
 +
!
 +
!
 +
!
 +
|}
 +
 +
----
 +
A very uninteresting test edit by iaresee
 +
 +
====Really Righteous Reading and References====
 +
 +
Become accquainted with this page, then see the following pages for more information:
 +
 +
Start here and do NOT pass Go. Do it. You know you want to….
 +
* WikiMedia's <q>[https://en.wikipedia.org/wiki/Help:Sandbox_tutorial#:~:text=Creating%20a%20sandbox&text=You%20can%20do%20this%20by,summary%2C%20and%20press%20Publish%20changes%20. Help:Sandbox tutorial]</q> pages.
 +
 +
At this point the world is your oyster, use your brand-spankin' new sandbox for any experimenting or editing…
 +
 +
* WikiMedia's <q>[https://wiki.fractalaudio.com/wiki/index.php?title=Help:Editing Help:Editing]</q>.
 +
* The W3.org's <q>[https://www.w3.org/WAI/tips/writing/#make-link-text-meaningful Writing for Web Accessibility]</q> page.
 +
:In particular this is important:<blockquote><q>Write link text so that it describes the content of the link target. Avoid using ambiguous link text, such as ‘<u>click here</u>’ or ‘<u>read more</u>’. Indicate relevant information about the link target, such as document type and size, for example, ‘<u>Proposal Documents (RTF, 20MB)</u>’.</q>:
 +
:This is bad:<blockquote><q>For more information on device independence, <u>click here</u>.</q></blockquote>
 +
:This is good:<blockquote><q>Read more <u>about device independence</u>.</q></blockquote>
 +
</blockquote>
 +
:A Wiki's content tagging system makes it really easy to create links that fail to tell the user what is a the far side of a link, especially when used with alternate devices like screen readers.
 +
* Similar to the previous, WebAIM's <q>[https://webaim.org/techniques/hypertext/link_text Links and Hypertext/Introduction to Links and Hypertext]</q> goes into much more detail describing how link-text should be written.
 +
* And, similar to that, there's the Nelson Norman Group's article <q>[https://www.nngroup.com/articles/title-attribute Using the Title Attribute to Help Users Predict Where They Are Going]</q>.
 +
* Wikipedia's <q>[https://en.wikipedia.org/wiki/List_of_XML_and_HTML_character_entity_references List of XML and HTML character entity references]</q> article.
 +
* Apple Support's <q>[https://support.apple.com/guide/mac-help/what-are-those-symbols-shown-in-menus-cpmh0011/mac What are those symbols shown in menus on Mac?]</q> page.
 +
 +
====CSS Styles====
 +
'''Before you begin:'''
 +
 +
See:
 +
* https://wiki.fractalaudio.com/wiki/index.php?title=MediaWiki:Common.css for the definitions in our Wiki.
 +
* https://en.wikipedia.org/wiki/Wikipedia:About_the_sandbox for instructions to create a <q>sandbox</q> for testing edits and CSS.
 +
* https://en.wikipedia.org/wiki/Help:User_style for instructions on how to create a <q>custom.css</q> file for your own sandbox.
 +
 +
'''Keycaps''': <kbd class="keycap">Command</kbd>
 +
<pre><kbd class="keycap">Command</kbd></pre>
 +
 +
These are mostly used in the [[Editors]] page, particularly in the [[Editors#Keyboard_shortcuts|Keyboard shortcuts]] section.
 +
 +
'''Application Button''': <span class="button">A button</span>
 +
<pre><span class="button">A button</span></pre>
 +
 +
'''NOTE:''' The following uses of <kbd>&lt;samp&gt;</kbd> and <kbd>&lt;code&gt;</kbd> should probably be changed to <kbd>&lt;span&gt;</kbd> with an appropriate "<kbd>class</kbd>" defined. Currently they're relying on the default MediaWiki CSS styling, which results in us being at their mercy if they change something. We should be the masters of our own destiny, or the creators of our own version of hell, something like that. It doesn't take a lot of work to let vim walk through the Wiki pages and replace occurrances if it seems the thing to do. - Greg Ferguson
 +
 +
The '''<kbd>&lt;samp&gt;</kbd>''' tag:
 +
 +
<pre><samp>This is something typed into the computer, or a file .ext</samp></pre>
 +
 +
is rendered as:
 +
 +
<samp>This is something typed into the computer, or a file .ext</samp>
 +
 +
The '''<kbd>&lt;code&gt;</kbd>''' tag:
 +
 +
<pre><code>Something from the interface/menus in Edit or Cab-Lab</code></pre>
 +
 +
is rendered as:
 +
 +
<code>Something from the interface/menus in Edit or Cab-Lab</code><br>
 +
 +
====Quoting====
 +
 +
* To try to provide some continuity with the forum's quote style we changed the Wiki to call out <kbd>&lt;blockquote&gt;&lt;blockquote&gt;&lt;p&gt;…&lt;/p&gt;</kbd> wrapped blocks. See the CSS page mentioned above for the styling information.
 +
* The <kbd>&lt;p&gt;</kbd> is automatically supplied by the Wiki, we don't need to add it explicitly.
 +
 +
'''Note:''' See the above note about using <kbd>&lt;span&gt;</kbd>, only switching to <kbd>&lt;div&gt;</kbd>, for the same reasons.
 +
 +
=====Fractal Audio Quotes=====
 +
 +
The standard quoting for FAS employees is:
 +
 +
<blockquote>
 +
'''FRACTAL AUDIO QUOTES'''
 +
<hr>
 +
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 +
Some sort of quote
 +
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 +
And created by:
 +
 +
<pre>
 +
<blockquote>
 +
'''FRACTAL AUDIO QUOTES'''
 +
<hr>
 +
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 +
Some sort of quote
 +
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 +
=====Other Quotes=====
 +
 +
Quotes of non-FAS employees look like:
 +
 +
<blockquote>
 +
'''OTHER QUOTES'''
 +
<hr>
 +
 +
The name of whoever said it:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 +
Some sort of quote from someone not affiliated with Fractal.
 +
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 +
And are created using:
 +
<pre>
 +
<blockquote>
 +
'''OTHER QUOTES'''
 +
<hr>
 +
 +
The name of whoever said it:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
  
Based on a small Pignose with a single 4" speaker. Source: Cab Pack 5 - 4x12 Collection (included with Cab Pack 14) <BR>
+
Some sort of quote from someone not affiliated with Fractal.
1 — 1x4 Pig 57 — FAS <BR>
 
2 — 1x4 Pig 121 — FAS <BR>
 
3 — 1x4 Pig 160 — FAS <BR>
 
4 — 1x4 Pig 170 — FAS <BR>
 
<BR>
 
Based on a vintage Danelectro with a single 6" speaker. Source: Cab Pack 6: “Cabs in the Attic” <BR>
 
5 — 1x6 Dan-O 121 — FAS <BR>
 
6 — 1x6 Dan-O 906 — FAS <BR>
 
7 — 1x6 Dan-O A51 — FAS <BR>
 
<BR>
 
Based on a 50’s-era Valco El Grande amp with a single 6" speaker. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
8 — 1x6 El Tiny 57 C AB — Austin Buddy <BR>
 
9 — 1x6 El Tiny 67 B AB — Austin Buddy <BR>
 
10 — 1x6 El Tiny 67 Room AB — Austin Buddy <BR>
 
11 — 1x6 El Tiny 160 B AB — Austin Buddy <BR>
 
12 — 1x6 El Tiny 160 C AB — Austin Buddy <BR>
 
13 — 1x6 El Tiny 421 B AB — Austin Buddy <BR>
 
14 — 1x6 El Tiny 421 C AB — Austin Buddy <BR>
 
<BR>
 
Based on a vintage Danelectro with a single 8" speaker. Source: Cab Pack 6: “Cabs in the Attic” <BR>
 
15 — 1x8 Dan-O 57 A — FAS <BR>
 
16 — 1x8 Dan-O 57 B — FAS <BR>
 
17 — 1x8 Dan-O 121 — FAS <BR>
 
18 — 1x8 Dan-O 414 A — FAS <BR>
 
19 — 1x8 Dan-O 414 B — FAS <BR>
 
20 — 1x8 Dan-O 414 C — FAS <BR>
 
21 — 1x8 Dan-O 906 A — FAS <BR>
 
22 — 1x8 Dan-O 906 B — FAS <BR>
 
23 — 1x8 Dan-O A51 A — FAS <BR>
 
24 — 1x8 Dan-O A51 B — FAS <BR>
 
<BR>
 
Based on a Fender "Eric Clapton" Champ reissue with a single 8" Weber speaker. Source: Cab Pack 4: Universal Noise Storage <BR>
 
25 — 1x8 EC Champlifier 57 A — FAS <BR>
 
26 — 1x8 EC Champlifier 57 B — FAS <BR>
 
27 — 1x8 EC Champlifier 121 A — FAS <BR>
 
28 — 1x8 EC Champlifier 121 B — FAS <BR>
 
29 — 1x8 EC Champlifier 160 A — FAS <BR>
 
30 — 1x8 EC Champlifier 160 B — FAS <BR>
 
31 — 1x8 EC Champlifier 350 A — FAS <BR>
 
32 — 1x8 EC Champlifier 350 B — FAS <BR>
 
33 — 1x8 EC Champlifier 906 A — FAS <BR>
 
34 — 1x8 EC Champlifier 906 B — FAS <BR>
 
35 — 1x8 EC Champlifier I5 A — FAS <BR>
 
36 — 1x8 EC Champlifier I5 B — FAS <BR>
 
37 — 1x8 EC Champlifier SM7 A — FAS <BR>
 
38 — 1x8 EC Champlifier SM7 B — FAS <BR>
 
<BR>
 
Based on the original 8" speaker in a 1950’s-era Fender Tweed Champ. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
39 — 1x8 Little Tweed1 57 C AB — Austin Buddy <BR>
 
40 — 1x8 Little Tweed1 67 C 6 AB — Austin Buddy <BR>
 
41 — 1x8 Little Tweed1 160 C AB — Austin Buddy <BR>
 
42 — 1x8 Little Tweed1 421 D AB — Austin Buddy <BR>
 
43 — 1x8 Little Tweed2 57 C AB — Austin Buddy <BR>
 
44 — 1x8 Little Tweed2 67 A AB — Austin Buddy <BR>
 
45 — 1x8 Little Tweed2 67 Room AB — Austin Buddy <BR>
 
46 — 1x8 Little Tweed2 121 A AB — Austin Buddy <BR>
 
47 — 1x8 Little Tweed2 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a rare vintage Silvertone 1960s 1448 amp, built into a guitar case. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
48 — 1x8 Silverton 57 A — FAS <BR>
 
49 — 1x8 Silverton 160 A — FAS <BR>
 
<BR>
 
Based on a Fender blackface Princeton with a single 10" speaker. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
50 — 1x10 Prince Tone 57 A — FAS <BR>
 
51 — 1x10 Prince Tone 57 B — FAS <BR>
 
52 — 1x10 Prince Tone 121 A — FAS <BR>
 
53 — 1x10 Prince Tone 121 B — FAS <BR>
 
54 — 1x10 Prince Tone 121 Rear — FAS <BR>
 
55 — 1x10 Prince Tone 160 A — FAS <BR>
 
56 — 1x10 Prince Tone 160 B — FAS <BR>
 
57 — 1x10 Prince Tone 160 C — FAS <BR>
 
58 — 1x10 Prince Tone 160 Rear A — FAS <BR>
 
59 — 1x10 Prince Tone 4047 A — FAS <BR>
 
60 — 1x10 Prince Tone 4047 B — FAS <BR>
 
<BR>
 
Based on a Fender Blackface Princeton Reverb (1966) with a single 10" speaker. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
61 — 1x10 Prince Tone Black 57 A — FAS <BR>
 
62 — 1x10 Prince Tone Black 57 B — FAS <BR>
 
63 — 1x10 Prince Tone Black 57 C — FAS <BR>
 
64 — 1x10 Prince Tone Black 57 D — FAS <BR>
 
65 — 1x10 Prince Tone Black 121 A — FAS <BR>
 
66 — 1x10 Prince Tone Black 121 B — FAS <BR>
 
67 — 1x10 Prince Tone Black 121 C — FAS <BR>
 
68 — 1x10 Prince Tone Black 121 D — FAS <BR>
 
69 — 1x10 Prince Tone Black 121 E — FAS <BR>
 
70 — 1x10 Prince Tone Black 121 F — FAS <BR>
 
71 — 1x10 Prince Tone Black 121 G — FAS <BR>
 
72 — 1x10 Prince Tone Black 160 A — FAS <BR>
 
73 — 1x10 Prince Tone Black 160 B — FAS <BR>
 
74 — 1x10 Prince Tone Black 160 C — FAS <BR>
 
75 — 1x10 Prince Tone Black 160 D — FAS <BR>
 
76 — 1x10 Prince Tone Black 160 Rear — FAS <BR>
 
77 — 1x10 Prince Tone Black 313 A — FAS <BR>
 
78 — 1x10 Prince Tone Black 313 B — FAS <BR>
 
79 — 1x10 Prince Tone Black 313 C — FAS <BR>
 
80 — 1x10 Prince Tone Black 313 D — FAS <BR>
 
81 — 1x10 Prince Tone Black 313 E — FAS <BR>
 
82 — 1x10 Prince Tone Black 313 Rear — FAS <BR>
 
83 — 1x10 Prince Tone Black 4047 A — FAS <BR>
 
84 — 1x10 Prince Tone Black 4047 B — FAS <BR>
 
85 — 1x10 Prince Tone Black 4047 C — FAS <BR>
 
86 — 1x10 Prince Tone Black 4047 D — FAS <BR>
 
<BR>
 
Based on a Fender Silverface Princeton with a single 10" speaker. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
87 — 1x10 Prince Tone SF 57 A — FAS <BR>
 
88 — 1x10 Prince Tone SF 57 B — FAS <BR>
 
89 — 1x10 Prince Tone SF 57 C — FAS <BR>
 
90 — 1x10 Prince Tone SF 121 A — FAS <BR>
 
91 — 1x10 Prince Tone SF 121 B — FAS <BR>
 
92 — 1x10 Prince Tone SF 121 Rear — FAS <BR>
 
93 — 1x10 Prince Tone SF 160 A — FAS <BR>
 
94 — 1x10 Prince Tone SF 160 B — FAS <BR>
 
95 — 1x10 Prince Tone SF 160 C — FAS <BR>
 
96 — 1x10 Prince Tone SF 4047 A — FAS <BR>
 
97 — 1x10 Prince Tone SF 4047 B — FAS <BR>
 
98 — 1x10 Prince Tone SF 4047 C — FAS <BR>
 
<BR>
 
Based on a Morgan AC-20 with a single 12" speaker (probably G12H). Source: Cab Pack 4: Universal Noise Storage <BR>
 
99 — 1x12 AC-20 DLX 57 A — FAS <BR>
 
100 — 1x12 AC-20 DLX 57 Cone — FAS <BR>
 
101 — 1x12 AC-20 DLX 57 Off-Axis — FAS <BR>
 
102 — 1x12 AC-20 DLX 57 — FAS <BR>
 
103 — 1x12 AC-20 DLX 121 Cone Rev — FAS <BR>
 
104 — 1x12 AC-20 DLX 121 Cone — FAS <BR>
 
105 — 1x12 AC-20 DLX 121 Off-Axis — FAS <BR>
 
106 — 1x12 AC-20 DLX 121 — FAS <BR>
 
107 — 1x12 AC-20 DLX 160 A — FAS <BR>
 
108 — 1x12 AC-20 DLX 160 Cone — FAS <BR>
 
109 — 1x12 AC-20 DLX 160 Off-Axis — FAS <BR>
 
110 — 1x12 AC-20 DLX 160 — FAS <BR>
 
111 — 1x12 AC-20 DLX 313 A — FAS <BR>
 
112 — 1x12 AC-20 DLX 350 Cone — FAS <BR>
 
113 — 1x12 AC-20 DLX 350 Off-Axis — FAS <BR>
 
114 — 1x12 AC-20 DLX 350 — FAS <BR>
 
115 — 1x12 AC-20 DLX 421 Off-Axis — FAS <BR>
 
116 — 1x12 AC-20 DLX 421 — FAS <BR>
 
117 — 1x12 AC-20 DLX 906 Cone — FAS <BR>
 
118 — 1x12 AC-20 DLX 906 Off-Axis — FAS <BR>
 
119 — 1x12 AC-20 DLX 906 — FAS <BR>
 
120 — 1x12 AC-20 DLX I5 Cone — FAS <BR>
 
121 — 1x12 AC-20 DLX I5 Off-Axis — FAS <BR>
 
122 — 1x12 AC-20 DLX I5 — FAS <BR>
 
123 — 1x12 AC-20 DLX SM7 Cone — FAS <BR>
 
124 — 1x12 AC-20 DLX SM7 Off-Axis — FAS <BR>
 
125 — 1x12 AC-20 DLX SM7 — FAS <BR>
 
<BR>
 
Based on a 12" V30 in an Allesandro birch cab. Source: Cab Pack 6: “Cabs in the Attic” <BR>
 
126 — 1x12 Allesandro 57 A — FAS <BR>
 
127 — 1x12 Allesandro 57 B — FAS <BR>
 
128 — 1x12 Allesandro 57 C — FAS <BR>
 
129 — 1x12 Allesandro 121 B — FAS <BR>
 
130 — 1x12 Allesandro 121 C — FAS <BR>
 
131 — 1x12 Allesandro 121 Rear — FAS <BR>
 
132 — 1x12 Allesandro 121 Room — FAS <BR>
 
133 — 1x12 Allesandro 121 — FAS <BR>
 
134 — 1x12 Allesandro 160 A — FAS <BR>
 
135 — 1x12 Allesandro 160 B — FAS <BR>
 
136 — 1x12 Allesandro 160 C — FAS <BR>
 
137 — 1x12 Allesandro 160 D — FAS <BR>
 
138 — 1x12 Allesandro 160 E — FAS <BR>
 
139 — 1x12 Allesandro 414 A — FAS <BR>
 
140 — 1x12 Allesandro 414 B — FAS <BR>
 
141 — 1x12 Allesandro 414 C — FAS <BR>
 
142 — 1x12 Allesandro 414 D — FAS <BR>
 
143 — 1x12 Allesandro 414 E — FAS <BR>
 
144 — 1x12 Allesandro 906 A — FAS <BR>
 
145 — 1x12 Allesandro 906 B — FAS <BR>
 
146 — 1x12 Allesandro A51 A — FAS <BR>
 
147 — 1x12 Allesandro A51 B — FAS <BR>
 
148 — 1x12 Allesandro A51 C — FAS <BR>
 
<BR>
 
Based on a 12" speaker in an Ampeg Jet. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
149 — 1x12 Ampjet 57 B — FAS <BR>
 
150 — 1x12 Ampjet 121 A — FAS <BR>
 
151 — 1x12 Ampjet 121 Rev — FAS <BR>
 
152 — 1x12 Ampjet 160 A — FAS <BR>
 
153 — 1x12 Ampjet 4047 A — FAS <BR>
 
<BR>
 
Based on a Bludotone closed-back ported cab (similar to a Dumble cab used by Larry Carlton), loaded with a single 12" WGS Blackhawk AlNiCo speaker. Source: Cab Pack 17: Buddy’s Boutique Cabs <BR>
 
154 — 1x12 Bludo 57 A — Austin Buddy <BR>
 
155 — 1x12 Bludo 57 B Off-Axis — Austin Buddy <BR>
 
156 — 1x12 Bludo 57 B — Austin Buddy <BR>
 
157 — 1x12 Bludo 57 D — Austin Buddy <BR>
 
158 — 1x12 Bludo 87 Room — Austin Buddy <BR>
 
159 — 1x12 Bludo 121 A — Austin Buddy <BR>
 
160 — 1x12 Bludo 121 B Off-Axis — Austin Buddy <BR>
 
161 — 1x12 Bludo 121 B — Austin Buddy <BR>
 
162 — 1x12 Bludo 121 D — Austin Buddy <BR>
 
163 — 1x12 Bludo 160 A — Austin Buddy <BR>
 
164 — 1x12 Bludo 160 B Off-Axis — Austin Buddy <BR>
 
165 — 1x12 Bludo 160 B — Austin Buddy <BR>
 
166 — 1x12 Bludo 160 D — Austin Buddy <BR>
 
167 — 1x12 Bludo 421 A — Austin Buddy <BR>
 
168 — 1x12 Bludo 421 B Off-Axis — Austin Buddy <BR>
 
169 — 1x12 Bludo 421 B — Austin Buddy <BR>
 
170 — 1x12 Bludo 421 D — Austin Buddy <BR>
 
171 — 1x12 Bludo 906 A — Austin Buddy <BR>
 
172 — 1x12 Bludo 906 B — Austin Buddy <BR>
 
173 — 1x12 Bludo 906 D — Austin Buddy <BR>
 
<BR>
 
Based on a 1x12 Carol-Ann cabinet, loaded with a 12" Scholz Classic speaker. Source: OBOT The Robot Cab Pack <BR>
 
174 — 1x12 Carol-Ann 57 A — FAS <BR>
 
175 — 1x12 Carol-Ann 57 B — FAS <BR>
 
176 — 1x12 Carol-Ann 57 C — FAS <BR>
 
177 — 1x12 Carol-Ann 57 D — FAS <BR>
 
178 — 1x12 Carol-Ann 57 E — FAS <BR>
 
179 — 1x12 Carol-Ann 57 F — FAS <BR>
 
180 — 1x12 Carol-Ann 57 G — FAS <BR>
 
181 — 1x12 Carol-Ann 57 H — FAS <BR>
 
182 — 1x12 Carol-Ann 121 A — FAS <BR>
 
183 — 1x12 Carol-Ann 121 B — FAS <BR>
 
184 — 1x12 Carol-Ann 121 C — FAS <BR>
 
185 — 1x12 Carol-Ann 121 D — FAS <BR>
 
186 — 1x12 Carol-Ann 121 E — FAS <BR>
 
187 — 1x12 Carol-Ann 160 A — FAS <BR>
 
188 — 1x12 Carol-Ann 160 B — FAS <BR>
 
189 — 1x12 Carol-Ann 160 C — FAS <BR>
 
190 — 1x12 Carol-Ann 160 D — FAS <BR>
 
191 — 1x12 Carol-Ann 313 A — FAS <BR>
 
192 — 1x12 Carol-Ann 313 B — FAS <BR>
 
193 — 1x12 Carol-Ann 313 C — FAS <BR>
 
194 — 1x12 Carol-Ann 313 D — FAS <BR>
 
195 — 1x12 Carol-Ann 313 E — FAS <BR>
 
196 — 1x12 Carol-Ann 4047 A — FAS <BR>
 
197 — 1x12 Carol-Ann 4047 B — FAS <BR>
 
198 — 1x12 Carol-Ann 4047 C — FAS <BR>
 
199 — 1x12 Carol-Ann 4047 D — FAS <BR>
 
200 — 1x12 Carol-Ann 4047 E — FAS <BR>
 
201 — 1x12 Carol-Ann 4047 F — FAS <BR>
 
202 — 1x12 Carol-Ann Room A — FAS <BR>
 
203 — 1x12 Carol-Ann Room B — FAS <BR>
 
<BR>
 
Based on a vintage "suitcase" guitar amp/cab (Gibson Charlie Christian-style), with a modern Italian-made Jensen special 12" speaker. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
204 — 1x12 CharlieC 57 D AB — Austin Buddy <BR>
 
205 — 1x12 CharlieC 67 C AB — Austin Buddy <BR>
 
206 — 1x12 CharlieC 67 Room AB — Austin Buddy <BR>
 
207 — 1x12 CharlieC 121 B AB — Austin Buddy <BR>
 
208 — 1x12 CharlieC 121 C AB — Austin Buddy <BR>
 
209 — 1x12 CharlieC 421 A AB — Austin Buddy <BR>
 
210 — 1x12 CharlieC 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on the speaker in a 5W Vox, captured by Chris Traynor (Bush) and James Santiago <BR>
 
211 — 1x12 Class-A 5W 57 Center TS — Chris Traynor <BR>
 
212 — 1x12 Class-A 5W 57 Side TS — Chris Traynor <BR>
 
213 — 1x12 Class-A 5W 121 Center TS — Chris Traynor <BR>
 
214 — 1x12 Class-A 5W 121 Side TS — Chris Traynor <BR>
 
215 — 1x12 Class-A 5W 421 Center TS — Chris Traynor <BR>
 
216 — 1x12 Class-A 5W 421 Side TS — Chris Traynor <BR>
 
<BR>
 
Based on an open-back Vox AC15 with a single 12" Alnico Blue speaker. Source: York Audio Bipolar Pack by Justin York (Paramore) <BR>
 
217 — 1x12 Class-A 15W #2 57M A YA — York Audio <BR>
 
218 — 1x12 Class-A 15W #2 57M Brt YA — York Audio <BR>
 
219 — 1x12 Class-A 15W #2 57M Drk YA — York Audio <BR>
 
220 — 1x12 Class-A 15W #2 57V A YA — York Audio <BR>
 
221 — 1x12 Class-A 15W #2 57V Brt YA — York Audio <BR>
 
222 — 1x12 Class-A 15W #2 57V Drk YA — York Audio <BR>
 
223 — 1x12 Class-A 15W #2 121 Bal YA — York Audio <BR>
 
224 — 1x12 Class-A 15W #2 421 Brt YA — York Audio <BR>
 
225 — 1x12 Class-A 15W #2 421 Drk YA — York Audio <BR>
 
226 — 1x12 Class-A 15W #2 421 H YA — York Audio <BR>
 
227 — 1x12 Class-A 15W #2 441 Brt YA — York Audio <BR>
 
228 — 1x12 Class-A 15W #2 441 C YA — York Audio <BR>
 
229 — 1x12 Class-A 15W #2 441 Drk YA — York Audio <BR>
 
230 — 1x12 Class-A 15W #2 906 B YA — York Audio <BR>
 
231 — 1x12 Class-A 15W #2 906 Brt YA — York Audio <BR>
 
232 — 1x12 Class-A 15W #2 906 Drk YA — York Audio <BR>
 
233 — 1x12 Class-A 15W #2 906 DrkC YA — York Audio <BR>
 
234 — 1x12 Class-A 15W #2 Coles Brt YA — York Audio <BR>
 
235 — 1x12 Class-A 15W #2 NUVO Bal YA — York Audio <BR>
 
236 — 1x12 Class-A 15W #2 RCA Bal YA — York Audio <BR>
 
237 — 1x12 Class-A 15W #2 STGR Bal YA — York Audio <BR>
 
238 — 1x12 Class-A 15W #2 T49 Bal YA — York Audio <BR>
 
239 — 1x12 Class-A 15W #2 VR1 Brt YA — York Audio <BR>
 
<BR>
 
Based on a Vox AC15 hand-wired 2010 reissue, with a 12" Alnico Blue speaker. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
240 — 1x12 Class-A 15W 57 A — FAS <BR>
 
241 — 1x12 Class-A 15W 57 B — FAS <BR>
 
242 — 1x12 Class-A 15W 57 C — FAS <BR>
 
243 — 1x12 Class-A 15W 121 A — FAS <BR>
 
244 — 1x12 Class-A 15W 121 B — FAS <BR>
 
245 — 1x12 Class-A 15W 121 C — FAS <BR>
 
246 — 1x12 Class-A 15W 121 D — FAS <BR>
 
247 — 1x12 Class-A 15W 160 A — FAS <BR>
 
248 — 1x12 Class-A 15W 160 B — FAS <BR>
 
249 — 1x12 Class-A 15W 160 C — FAS <BR>
 
250 — 1x12 Class-A 15W 313 A — FAS <BR>
 
251 — 1x12 Class-A 15W 313 B — FAS <BR>
 
252 — 1x12 Class-A 15W 313 C — FAS <BR>
 
253 — 1x12 Class-A 15W 313 D — FAS <BR>
 
254 — 1x12 Class-A 15W 313 E — FAS <BR>
 
255 — 1x12 Class-A 15W 421 A — FAS <BR>
 
256 — 1x12 Class-A 15W 421 B — FAS <BR>
 
257 — 1x12 Class-A 15W 421 C — FAS <BR>
 
258 — 1x12 Class-A 15W 4047 A — FAS <BR>
 
259 — 1x12 Class-A 15W 4047 B — FAS <BR>
 
260 — 1x12 Class-A 15W 4047 C — FAS <BR>
 
<BR>
 
Based on a boutique 1x12 half-open-back cabinet made with custom hardwood and a vintage 12" JBL D120f speaker. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
261 — 1x12 Custom D120 57 B AB — Austin Buddy <BR>
 
262 — 1x12 Custom D120 57 C AB — Austin Buddy <BR>
 
263 — 1x12 Custom D120 67 C AB — Austin Buddy <BR>
 
264 — 1x12 Custom D120 67 Room AB — Austin Buddy <BR>
 
265 — 1x12 Custom D120 121 C AB — Austin Buddy <BR>
 
266 — 1x12 Custom D120 121 D AB — Austin Buddy <BR>
 
267 — 1x12 Custom D120 160 C AB — Austin Buddy <BR>
 
<BR>
 
Based on a Fender Tweed Deluxe with original 12" speaker. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
268 — 1x12 Deluxe Tweed1 67 D AB — Austin Buddy <BR>
 
269 — 1x12 Deluxe Tweed1 67 Room AB — Austin Buddy <BR>
 
270 — 1x12 Deluxe Tweed1 160 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a Fender Tweed Deluxe with original 12" speaker. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
271 — 1x12 Deluxe Tweed2 57 D AB — Austin Buddy <BR>
 
272 — 1x12 Deluxe Tweed2 57 E AB — Austin Buddy <BR>
 
273 — 1x12 Deluxe Tweed2 67 D AB — Austin Buddy <BR>
 
274 — 1x12 Deluxe Tweed2 121 A AB — Austin Buddy <BR>
 
275 — 1x12 Deluxe Tweed2 121 B AB — Austin Buddy <BR>
 
276 — 1x12 Deluxe Tweed2 160 C AB — Austin Buddy <BR>
 
277 — 1x12 Deluxe Tweed2 160 D AB — Austin Buddy <BR>
 
278 — 1x12 Deluxe Tweed2 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a Fender Blackface Deluxe Reverb with a single 12" speaker. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
279 — 1x12 Deluxe Verb 57 A — FAS <BR>
 
280 — 1x12 Deluxe Verb 57 B — FAS <BR>
 
281 — 1x12 Deluxe Verb 121 A — FAS <BR>
 
282 — 1x12 Deluxe Verb 121 B — FAS <BR>
 
283 — 1x12 Deluxe Verb 121 Rear — FAS <BR>
 
284 — 1x12 Deluxe Verb 121 Rev — FAS <BR>
 
285 — 1x12 Deluxe Verb 160 A — FAS <BR>
 
286 — 1x12 Deluxe Verb 160 B — FAS <BR>
 
287 — 1x12 Deluxe Verb 160 Rear A — FAS <BR>
 
288 — 1x12 Deluxe Verb 4047 — FAS <BR>
 
<BR>
 
Based on an Divided By 13 open-back cabinet with 12" speaker. Captured by Chris Traynor (Bush) and James Santiago <BR>
 
289 — 1x12 Division-13 57 CapCone TS — Chris Traynor <BR>
 
290 — 1x12 Division-13 57 Cone TS — Chris Traynor <BR>
 
291 — 1x12 Division-13 121 Cap TS — Chris Traynor <BR>
 
292 — 1x12 Division-13 121 Cone TS — Chris Traynor <BR>
 
293 — 1x12 Division-13 421 CapCone TS — Chris Traynor <BR>
 
294 — 1x12 Division-13 421 Cone TS — Chris Traynor <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a 1977 Altec 417-8H speaker. Source: Cab Pack 3: OwnHammer <BR>
 
295 — 1x12 DLX 417-H 57 OH — OwnHammer <BR>
 
296 — 1x12 DLX 417-H 84 Rear OH — OwnHammer <BR>
 
297 — 1x12 DLX 417-H 121 OH — OwnHammer <BR>
 
298 — 1x12 DLX 417-H U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a 1969 Celestion Alnico Silver speaker. Source: Cab Pack 3: OwnHammer <BR>
 
299 — 1x12 DLX ALN-SLV 57 OH — OwnHammer <BR>
 
300 — 1x12 DLX ALN-SLV 84 Rear OH — OwnHammer <BR>
 
301 — 1x12 DLX ALN-SLV 121 OH — OwnHammer <BR>
 
302 — 1x12 DLX ALN-SLV U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a vintage Electro Voice SRO-12 speaker. Source: Cab Pack 3: OwnHammer <BR>
 
303 — 1x12 DLX EV-SRO 57 OH — OwnHammer <BR>
 
304 — 1x12 DLX EV-SRO 84 Rear OH — OwnHammer <BR>
 
305 — 1x12 DLX EV-SRO 121 OH — OwnHammer <BR>
 
306 — 1x12 DLX EV-SRO U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a 1977 Fane 122142 speaker. Source: Cab Pack 3: OwnHammer <BR>
 
307 — 1x12 DLX FN-42 57 OH — OwnHammer <BR>
 
308 — 1x12 DLX FN-42 84 Rear OH — OwnHammer <BR>
 
309 — 1x12 DLX FN-42 121 OH — OwnHammer <BR>
 
310 — 1x12 DLX FN-42 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a 1977 Celestion G12M “black back” speaker with 55 Hz cone. Source: Cab Pack 3: OwnHammer <BR>
 
311 — 1x12 DLX M-BB-55 57 OH — OwnHammer <BR>
 
312 — 1x12 DLX M-BB-55 84 Rear OH — OwnHammer <BR>
 
313 — 1x12 DLX M-BB-55 121 OH — OwnHammer <BR>
 
314 — 1x12 DLX M-BB-55 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an open-back 1x12 Fender Deluxe cabinet, with a Jensen P12R speaker. Source: Cab Pack 3: OwnHammer <BR>
 
315 — 1x12 DLX P12RB 57 OH — OwnHammer <BR>
 
316 — 1x12 DLX P12RB 84 Rear OH — OwnHammer <BR>
 
317 — 1x12 DLX P12RB 121 OH — OwnHammer <BR>
 
318 — 1x12 DLX P12RB U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a vintage Fender Deluxe Reverb open-back 1x12 combo, with a V30 speaker <BR>
 
319 — 1x12 DVRB VNTG 57 OH — OwnHammer <BR>
 
320 — 1x12 DVRB VNTG 84 Rear OH — OwnHammer <BR>
 
321 — 1x12 DVRB VNTG 121 OH — OwnHammer <BR>
 
322 — 1x12 DVRB VNTG U70 OH — OwnHammer <BR>
 
<BR>
 
Based on an one-of-a-kind custom combo with a single Celestion G12T speaker, built by a famous amp guru. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
323 — 1x12 G12T 57 A — FAS <BR>
 
324 — 1x12 G12T 57 B — FAS <BR>
 
325 — 1x12 G12T 121 A Rev — FAS <BR>
 
326 — 1x12 G12T 121 B Rev — FAS <BR>
 
327 — 1x12 G12T 121 B — FAS <BR>
 
328 — 1x12 G12T 121 C — FAS <BR>
 
329 — 1x12 G12T 121 Rear — FAS <BR>
 
330 — 1x12 G12T 160 A — FAS <BR>
 
331 — 1x12 G12T 160 B — FAS <BR>
 
332 — 1x12 G12T 160 Rear — FAS <BR>
 
333 — 1x12 G12T 906 A — FAS <BR>
 
334 — 1x12 G12T 906 B — FAS <BR>
 
335 — 1x12 G12T 4047 A — FAS <BR>
 
336 — 1x12 G12T 4047 B — FAS <BR>
 
<BR>
 
Based on an all-original Mesa Boogie 1x12 Mark IIC+ combo. Source: OBOT The Robot Cab Pack <BR>
 
337 — 1x12 IIC+ 57 A — FAS <BR>
 
338 — 1x12 IIC+ 57 B — FAS <BR>
 
339 — 1x12 IIC+ 57 C — FAS <BR>
 
340 — 1x12 IIC+ 57 D — FAS <BR>
 
341 — 1x12 IIC+ 57 E — FAS <BR>
 
342 — 1x12 IIC+ 57 F — FAS <BR>
 
343 — 1x12 IIC+ 57 G — FAS <BR>
 
344 — 1x12 IIC+ 57 H — FAS <BR>
 
345 — 1x12 IIC+ 57 I — FAS <BR>
 
346 — 1x12 IIC+ 121 A — FAS <BR>
 
347 — 1x12 IIC+ 121 B — FAS <BR>
 
348 — 1x12 IIC+ 121 C — FAS <BR>
 
349 — 1x12 IIC+ 121 D — FAS <BR>
 
350 — 1x12 IIC+ 121 E — FAS <BR>
 
351 — 1x12 IIC+ 121 F — FAS <BR>
 
352 — 1x12 IIC+ 121 G — FAS <BR>
 
353 — 1x12 IIC+ 121 H — FAS <BR>
 
354 — 1x12 IIC+ 160 A — FAS <BR>
 
355 — 1x12 IIC+ 160 B — FAS <BR>
 
356 — 1x12 IIC+ 160 C — FAS <BR>
 
357 — 1x12 IIC+ 160 D — FAS <BR>
 
358 — 1x12 IIC+ 160 E — FAS <BR>
 
359 — 1x12 IIC+ 160 F — FAS <BR>
 
360 — 1x12 IIC+ 160 G — FAS <BR>
 
361 — 1x12 IIC+ 160 H — FAS <BR>
 
362 — 1x12 IIC+ 160 I — FAS <BR>
 
363 — 1x12 IIC+ 313 A — FAS <BR>
 
364 — 1x12 IIC+ 313 B — FAS <BR>
 
365 — 1x12 IIC+ 313 C — FAS <BR>
 
366 — 1x12 IIC+ 313 D — FAS <BR>
 
367 — 1x12 IIC+ 313 E — FAS <BR>
 
368 — 1x12 IIC+ 313 F — FAS <BR>
 
369 — 1x12 IIC+ 313 G — FAS <BR>
 
370 — 1x12 IIC+ 313 H — FAS <BR>
 
371 — 1x12 IIC+ 4047 A — FAS <BR>
 
372 — 1x12 IIC+ 4047 B — FAS <BR>
 
373 — 1x12 IIC+ 4047 C — FAS <BR>
 
374 — 1x12 IIC+ 4047 D — FAS <BR>
 
375 — 1x12 IIC+ Room A — FAS <BR>
 
376 — 1x12 IIC+ Room B — FAS <BR>
 
<BR>
 
Based on the 12" speaker in a Fender Blues Jr. Source: Cab Pack combo. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
377 — 1x12 Jr Blues 57 A — FAS <BR>
 
378 — 1x12 Jr Blues 57 B — FAS <BR>
 
379 — 1x12 Jr Blues 121 A — FAS <BR>
 
380 — 1x12 Jr Blues 121 B — FAS <BR>
 
381 — 1x12 Jr Blues 121 Rev — FAS <BR>
 
382 — 1x12 Jr Blues 160 A — FAS <BR>
 
383 — 1x12 Jr Blues 160 B — FAS <BR>
 
384 — 1x12 Jr Blues 160 Rear A — FAS <BR>
 
385 — 1x12 Jr Blues 4047 — FAS <BR>
 
<BR>
 
Based on an early 1960s vintage Magnatone amp. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
386 — 1x12 Mognotone 57 A — FAS <BR>
 
387 — 1x12 Mognotone 57 B — FAS <BR>
 
388 — 1x12 Mognotone 57 C — FAS <BR>
 
389 — 1x12 Mognotone 121 A — FAS <BR>
 
390 — 1x12 Mognotone 121 B — FAS <BR>
 
391 — 1x12 Mognotone 121 C — FAS <BR>
 
392 — 1x12 Mognotone 121 D — FAS <BR>
 
393 — 1x12 Mognotone 160 A — FAS <BR>
 
394 — 1x12 Mognotone 160 B — FAS <BR>
 
395 — 1x12 Mognotone 160 C — FAS <BR>
 
396 — 1x12 Mognotone 313 A — FAS <BR>
 
397 — 1x12 Mognotone 313 B — FAS <BR>
 
398 — 1x12 Mognotone 313 C — FAS <BR>
 
399 — 1x12 Mognotone 421 A — FAS <BR>
 
400 — 1x12 Mognotone 421 B — FAS <BR>
 
401 — 1x12 Mognotone 421 C — FAS <BR>
 
402 — 1x12 Mognotone 4047 A — FAS <BR>
 
403 — 1x12 Mognotone 4047 B — FAS <BR>
 
404 — 1x12 Mognotone 4047 C — FAS <BR>
 
<BR>
 
Based on a mid-1970’s 1x12 open-back cabinet for a vintage Music Man amp, with a single Celestion G12-70 speaker. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
405 — 1x12 Music-Guy 57 B AB — Austin Buddy <BR>
 
406 — 1x12 Music-Guy 67 Room AB — Austin Buddy <BR>
 
407 — 1x12 Music-Guy 121 B AB — Austin Buddy <BR>
 
408 — 1x12 Music-Guy 121 C AB — Austin Buddy <BR>
 
409 — 1x12 Music-Guy 160 B AB — Austin Buddy <BR>
 
410 — 1x12 Music-Guy 160 C AB — Austin Buddy <BR>
 
411 — 1x12 Music-Guy 421 B AB — Austin Buddy <BR>
 
<BR>
 
Based on the 12" Mojotone BV-25m speaker in a Swart Atomic Space Tone. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
412 — 1x12 Nuclear Tone 57 A — FAS <BR>
 
413 — 1x12 Nuclear Tone 57 B — FAS <BR>
 
414 — 1x12 Nuclear Tone 57 C — FAS <BR>
 
415 — 1x12 Nuclear Tone 57 Rear — FAS <BR>
 
416 — 1x12 Nuclear Tone 121 A — FAS <BR>
 
417 — 1x12 Nuclear Tone 121 B — FAS <BR>
 
418 — 1x12 Nuclear Tone 121 C — FAS <BR>
 
419 — 1x12 Nuclear Tone 160 A — FAS <BR>
 
420 — 1x12 Nuclear Tone 160 B — FAS <BR>
 
421 — 1x12 Nuclear Tone 160 C — FAS <BR>
 
422 — 1x12 Nuclear Tone 160 D — FAS <BR>
 
423 — 1x12 Nuclear Tone 160 Rear — FAS <BR>
 
424 — 1x12 Nuclear Tone 4047 A — FAS <BR>
 
425 — 1x12 Nuclear Tone 4047 B — FAS <BR>
 
426 — 1x12 Nuclear Tone 4047 C — FAS <BR>
 
427 — 1x12 Nuclear Tone 4047 Rear — FAS <BR>
 
<BR>
 
Based on a unique Texas-made boutique Pappas amp (similar to a Blackface Deluxe on steroids), 1x12 open-back with a “Special Design” Jensen speaker. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
428 — 1x12 Pappa 57 D AB — Austin Buddy <BR>
 
429 — 1x12 Pappa 67 C AB — Austin Buddy <BR>
 
430 — 1x12 Pappa 67 Rear AB — Austin Buddy <BR>
 
431 — 1x12 Pappa 67 Room AB — Austin Buddy <BR>
 
432 — 1x12 Pappa 121 B AB — Austin Buddy <BR>
 
433 — 1x12 Pappa 160 D AB — Austin Buddy <BR>
 
434 — 1x12 Pappa 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on the single 12" speaker in a Peavey Classic 30. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
435 — 1x12 PV C30 57 A — FAS <BR>
 
436 — 1x12 PV C30 57 B — FAS <BR>
 
437 — 1x12 PV C30 121 B — FAS <BR>
 
438 — 1x12 PV C30 121 C — FAS <BR>
 
439 — 1x12 PV C30 121 Rear — FAS <BR>
 
440 — 1x12 PV C30 121 — FAS <BR>
 
441 — 1x12 PV C30 4047 A — FAS <BR>
 
442 — 1x12 PV C30 4047 B — FAS <BR>
 
<BR>
 
Based on the single 12" Eminence Elsinore speaker in a Carr Rambler. Source: Cab Pack 4: Universal Noise Storage <BR>
 
443 — 1x12 Roamer 57 Cone — FAS <BR>
 
444 — 1x12 Roamer 57 Off-Axis — FAS <BR>
 
445 — 1x12 Roamer 57 — FAS <BR>
 
446 — 1x12 Roamer 121 Cone REV — FAS <BR>
 
447 — 1x12 Roamer 121 Cone — FAS <BR>
 
448 — 1x12 Roamer 121 Off-Axis — FAS <BR>
 
449 — 1x12 Roamer 121 REV — FAS <BR>
 
450 — 1x12 Roamer 121 — FAS <BR>
 
451 — 1x12 Roamer 160 Cone — FAS <BR>
 
452 — 1x12 Roamer 160 Off-Axis — FAS <BR>
 
453 — 1x12 Roamer 160 — FAS <BR>
 
454 — 1x12 Roamer 350 Cone — FAS <BR>
 
455 — 1x12 Roamer 350 Off-Axis — FAS <BR>
 
456 — 1x12 Roamer 350 — FAS <BR>
 
457 — 1x12 Roamer 421 Cone — FAS <BR>
 
458 — 1x12 Roamer 421 Off-Axis — FAS <BR>
 
459 — 1x12 Roamer 421 — FAS <BR>
 
460 — 1x12 Roamer 906 Cone — FAS <BR>
 
461 — 1x12 Roamer 906 Off-Axis — FAS <BR>
 
462 — 1x12 Roamer 906 — FAS <BR>
 
463 — 1x12 Roamer I5 Cone — FAS <BR>
 
464 — 1x12 Roamer I5 Off-Axis — FAS <BR>
 
465 — 1x12 Roamer I5 — FAS <BR>
 
466 — 1x12 Roamer SM7 Cone — FAS <BR>
 
467 — 1x12 Roamer SM7 Off-Axis — FAS <BR>
 
468 — 1x12 Roamer SM7 — FAS <BR>
 
<BR>
 
Based on a Bogner Shiva closed-back dual-ported cab, loaded with a single Celestion Classic Lead 80. Source: Cab Pack 17: Buddy’s Boutique Cabs <BR>
 
469 — 1x12 Shiver 57 A — Austin Buddy <BR>
 
470 — 1x12 Shiver 57 B Off-Axis — Austin Buddy <BR>
 
471 — 1x12 Shiver 57 B — Austin Buddy <BR>
 
472 — 1x12 Shiver 57 D — Austin Buddy <BR>
 
473 — 1x12 Shiver 87 Room — Austin Buddy <BR>
 
474 — 1x12 Shiver 121 A — Austin Buddy <BR>
 
475 — 1x12 Shiver 121 B Off-Axis — Austin Buddy <BR>
 
476 — 1x12 Shiver 121 B — Austin Buddy <BR>
 
477 — 1x12 Shiver 121 C — Austin Buddy <BR>
 
478 — 1x12 Shiver 121 D — Austin Buddy <BR>
 
479 — 1x12 Shiver 160 A — Austin Buddy <BR>
 
480 — 1x12 Shiver 160 B Off-Axis — Austin Buddy <BR>
 
481 — 1x12 Shiver 160 B — Austin Buddy <BR>
 
482 — 1x12 Shiver 160 D — Austin Buddy <BR>
 
483 — 1x12 Shiver 421 A — Austin Buddy <BR>
 
484 — 1x12 Shiver 421 B Off-Axis — Austin Buddy <BR>
 
485 — 1x12 Shiver 421 B — Austin Buddy <BR>
 
486 — 1x12 Shiver 421 D — Austin Buddy <BR>
 
487 — 1x12 Shiver 906 A — Austin Buddy <BR>
 
488 — 1x12 Shiver 906 B — Austin Buddy <BR>
 
489 — 1x12 Shiver 906 D — Austin Buddy <BR>
 
<BR>
 
Based on a modern 12” closed-back extension cabinet for a Supro Titan, using the same speaker as in the modern Jupiter Supro: Supro HP12. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
490 — 1x12 Supremo Ext 57 C AB — Austin Buddy <BR>
 
491 — 1x12 Supremo Ext 67 Room AB — Austin Buddy <BR>
 
492 — 1x12 Supremo Ext 121 A AB — Austin Buddy <BR>
 
493 — 1x12 Supremo Ext 160 B AB — Austin Buddy <BR>
 
494 — 1x12 Supremo Ext 160 C AB — Austin Buddy <BR>
 
495 — 1x12 Supremo Ext 421 C AB — Austin Buddy <BR>
 
<BR>
 
Based on the single 12" G12H speaker in a Top Hat Club Royale. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
496 — 1x12 Topham GB 57 A — FAS <BR>
 
497 — 1x12 Topham GB 57 B — FAS <BR>
 
498 — 1x12 Topham GB 121 A — FAS <BR>
 
499 — 1x12 Topham GB 121 B — FAS <BR>
 
500 — 1x12 Topham GB 121 C — FAS <BR>
 
501 — 1x12 Topham GB 160 A — FAS <BR>
 
502 — 1x12 Topham GB 160 B — FAS <BR>
 
503 — 1x12 Topham GB 160 Rear — FAS <BR>
 
504 — 1x12 Topham GB 313 A — FAS <BR>
 
505 — 1x12 Topham GB 313 C — FAS <BR>
 
506 — 1x12 Topham GB 313 D — FAS <BR>
 
507 — 1x12 Topham GB 313 Rear — FAS <BR>
 
508 — 1x12 Topham GB 4047 A — FAS <BR>
 
509 — 1x12 Topham GB 4047 B — FAS <BR>
 
510 — 1x12 Topham GB 4047 C — FAS <BR>
 
511 — 1x12 Topham GB 4047 D — FAS <BR>
 
<BR>
 
Based on a Carol-Ann TripTik with a 12" Scholz Classic speaker. Source: Cab Pack 5 (included with Cab Pack 14) <BR>
 
512 — 1x12 TripTik 57 Cap-Edge — FAS <BR>
 
513 — 1x12 TripTik 57 Cone — FAS <BR>
 
514 — 1x12 TripTik 121 Back — FAS <BR>
 
515 — 1x12 TripTik 121 Cap-Edge — FAS <BR>
 
516 — 1x12 TripTik 121 Cap — FAS <BR>
 
517 — 1x12 TripTik 121 Cone — FAS <BR>
 
518 — 1x12 TripTik 4047 Cap-Edge A — FAS <BR>
 
519 — 1x12 TripTik E906 Cap-Edge — FAS <BR>
 
520 — 1x12 TripTik M160 Cap-Edge — FAS <BR>
 
521 — 1x12 TripTik M160 Cap — FAS <BR>
 
<BR>
 
Based on the single 12" speaker in a Victoria Deluxe. Source: Cab Pack 4: Universal Noise Storage <BR>
 
522 — 1x12 Tweed Verb 57 — FAS <BR>
 
523 — 1x12 Tweed Verb 121 — FAS <BR>
 
524 — 1x12 Tweed Verb 160 — FAS <BR>
 
525 — 1x12 Tweed Verb 350 — FAS <BR>
 
<BR>
 
Based on a 1961 Fender Brownface Deluxe 6G3 with a 1976 Celestion G12H Blackback speaker. Source: ML Vintage Combos <BR>
 
526 — 1x12 USA Brown 57 ML — ML Sound Lab <BR>
 
527 — 1x12 USA Brown 121 ML — ML Sound Lab <BR>
 
528 — 1x12 USA Brown 160 ML — ML Sound Lab <BR>
 
529 — 1x12 USA Brown 906 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a 1960 Fender Tweed Deluxe 5E3 Narrow Panel with a Jensen P12Q speaker. Source: ML Vintage Combos <BR>
 
530 — 1x12 USA Tweed 57 ML — ML Sound Lab <BR>
 
531 — 1x12 USA Tweed 121 ML — ML Sound Lab <BR>
 
532 — 1x12 USA Tweed 160 ML — ML Sound Lab <BR>
 
533 — 1x12 USA Tweed 421 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Vox AC15H1TVL open-back solid mahogany 1x12 combo, with a 1979 Fane 125155 speaker. Source: Ownhammer Class-A Duo <BR>
 
534 — 1x12 VC15 F55 57 OH — OwnHammer <BR>
 
535 — 1x12 VC15 F55 84 Rear OH — OwnHammer <BR>
 
536 — 1x12 VC15 F55 121 OH — OwnHammer <BR>
 
537 — 1x12 VC15 F55 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on the single 12" speaker in a Fender Brownface Vibrolux. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
538 — 1x12 Vibrato Lux 57 A — FAS <BR>
 
539 — 1x12 Vibrato Lux 57 B — FAS <BR>
 
540 — 1x12 Vibrato Lux 57 C — FAS <BR>
 
541 — 1x12 Vibrato Lux 57 Rear — FAS <BR>
 
542 — 1x12 Vibrato Lux 121 A — FAS <BR>
 
543 — 1x12 Vibrato Lux 121 B — FAS <BR>
 
544 — 1x12 Vibrato Lux 121 Rear — FAS <BR>
 
545 — 1x12 Vibrato Lux 121 Rev — FAS <BR>
 
546 — 1x12 Vibrato Lux 160 A — FAS <BR>
 
547 — 1x12 Vibrato Lux 160 B — FAS <BR>
 
548 — 1x12 Vibrato Lux 906 A — FAS <BR>
 
549 — 1x12 Vibrato Lux 906 B — FAS <BR>
 
550 — 1x12 Vibrato Lux 4047 A — FAS <BR>
 
551 — 1x12 Vibrato Lux 4047 B — FAS <BR>
 
<BR>
 
Based on an early 1950’s-era Gibson GA-30 open-back amp/cab with two vintage Jensen P12 and P8 speakers. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
552 — 1x12+8 Gibtone 30 67 Room AB — Austin Buddy <BR>
 
553 — 1x12+8 Gibtone 30 L 57 B AB — Austin Buddy <BR>
 
554 — 1x12+8 Gibtone 30 L 121 A AB — Austin Buddy <BR>
 
555 — 1x12+8 Gibtone 30 L 160 B AB — Austin Buddy <BR>
 
556 — 1x12+8 Gibtone 30 L 160 C AB — Austin Buddy <BR>
 
557 — 1x12+8 Gibtone 30 L+R 57 AB — Austin Buddy <BR>
 
558 — 1x12+8 Gibtone 30 L+R 67 AB — Austin Buddy <BR>
 
559 — 1x12+8 Gibtone 30 L+R 121 AB — Austin Buddy <BR>
 
560 — 1x12+8 Gibtone 30 L+R 160 AB — Austin Buddy <BR>
 
<BR>
 
Based on a Celestion A-Type speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
561 — 1x12c A-Type 121 Dk 2 CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Vintage 30 speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
562 — 1x12c V30 57 Bal CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Blue speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
563 — 1x12o Cel Blue 421 Brt CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12-35XC speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
564 — 1x12o G12-35XC 121 Bal CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12H Anniversary speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
565 — 1x12o G12H Anni 57 Rear CEL — Celestion <BR>
 
566 — 1x12o G12H Anni 421 Brt CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12M Creamback speaker in a 1x12 cab. Source: Celestion Plus <BR>
 
567 — 1x12o G12M Creambk 57 Rear CEL — Celestion <BR>
 
568 — 1x12o G12M Creambk 121 Brt CEL — Celestion <BR>
 
<BR>
 
Based on a 1950’s-era Fender Tweed Bandmaster with a single 15" speaker. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
569 — 1x15 Band Tweed 57 A AB — Austin Buddy <BR>
 
570 — 1x15 Band Tweed 67 A AB — Austin Buddy <BR>
 
571 — 1x15 Band Tweed 67 B AB — Austin Buddy <BR>
 
572 — 1x15 Band Tweed 67 Room AB — Austin Buddy <BR>
 
573 — 1x15 Band Tweed 121 C AB — Austin Buddy <BR>
 
574 — 1x15 Band Tweed 160 B AB — Austin Buddy <BR>
 
575 — 1x15 Band Tweed 421 C AB — Austin Buddy <BR>
 
<BR>
 
Based on a Budda cabinet with a single “Phat 15” speaker. Source: Cab Pack 6: “Cabs in the Attic” <BR>
 
576 — 1x15 Buttery 57 A — FAS <BR>
 
577 — 1x15 Buttery 57 B — FAS <BR>
 
578 — 1x15 Buttery 57 C — FAS <BR>
 
579 — 1x15 Buttery 57 D — FAS <BR>
 
580 — 1x15 Buttery 57 Rear — FAS <BR>
 
581 — 1x15 Buttery 121 A — FAS <BR>
 
582 — 1x15 Buttery 121 B — FAS <BR>
 
583 — 1x15 Buttery 121 C — FAS <BR>
 
584 — 1x15 Buttery 121 Rear — FAS <BR>
 
585 — 1x15 Buttery 121 Rev — FAS <BR>
 
586 — 1x15 Buttery 160 A — FAS <BR>
 
587 — 1x15 Buttery 160 B — FAS <BR>
 
588 — 1x15 Buttery 160 C — FAS <BR>
 
589 — 1x15 Buttery 160 D — FAS <BR>
 
590 — 1x15 Buttery 414 A — FAS <BR>
 
591 — 1x15 Buttery 414 B — FAS <BR>
 
592 — 1x15 Buttery 414 C — FAS <BR>
 
593 — 1x15 Buttery 906 A — FAS <BR>
 
594 — 1x15 Buttery 906 B — FAS <BR>
 
595 — 1x15 Buttery A51 A — FAS <BR>
 
596 — 1x15 Buttery A51 B — FAS <BR>
 
597 — 1x15 Buttery A51 C — FAS <BR>
 
<BR>
 
Based on a 1950’s-era Fender Tweed Pro, with a single 15" speaker. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
598 — 1x15 Pro Tweed 57 A AB — Austin Buddy <BR>
 
599 — 1x15 Pro Tweed 67 A AB — Austin Buddy <BR>
 
600 — 1x15 Pro Tweed 67 Room AB — Austin Buddy <BR>
 
601 — 1x15 Pro Tweed 121 C AB — Austin Buddy <BR>
 
602 — 1x15 Pro Tweed 160 A AB — Austin Buddy <BR>
 
603 — 1x15 Pro Tweed 160 D AB — Austin Buddy <BR>
 
604 — 1x15 Pro Tweed 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a 1966 cabinet for a Supro Thunderbolt amp, with an original 15" “Special Design” Jensen speaker. Source: AustinBuddy’s Vintage Cool and Rare Cab Pack <BR>
 
605 — 1x15 Supremo Bolt 57 B AB — Austin Buddy <BR>
 
606 — 1x15 Supremo Bolt 57 C AB — Austin Buddy <BR>
 
607 — 1x15 Supremo Bolt 57 D AB — Austin Buddy <BR>
 
608 — 1x15 Supremo Bolt 67 B AB — Austin Buddy <BR>
 
609 — 1x15 Supremo Bolt 67 C AB — Austin Buddy <BR>
 
610 — 1x15 Supremo Bolt 67 D AB — Austin Buddy <BR>
 
611 — 1x15 Supremo Bolt 67 Room AB — Austin Buddy <BR>
 
612 — 1x15 Supremo Bolt 121 A AB — Austin Buddy <BR>
 
613 — 1x15 Supremo Bolt 160 B AB — Austin Buddy <BR>
 
614 — 1x15 Supremo Bolt 421 C AB — Austin Buddy <BR>
 
615 — 1x15 Supremo Bolt 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a Fender Blackface Vibroverb (1965) with a single 15" speaker. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
616 — 1x15 Vibrato Verb 57 A — FAS <BR>
 
617 — 1x15 Vibrato Verb 57 B — FAS <BR>
 
618 — 1x15 Vibrato Verb 57 C — FAS <BR>
 
619 — 1x15 Vibrato Verb 57 D — FAS <BR>
 
620 — 1x15 Vibrato Verb 121 A — FAS <BR>
 
621 — 1x15 Vibrato Verb 121 B — FAS <BR>
 
622 — 1x15 Vibrato Verb 121 C — FAS <BR>
 
623 — 1x15 Vibrato Verb 121 D — FAS <BR>
 
624 — 1x15 Vibrato Verb 121 E — FAS <BR>
 
625 — 1x15 Vibrato Verb 160 A — FAS <BR>
 
626 — 1x15 Vibrato Verb 160 B — FAS <BR>
 
627 — 1x15 Vibrato Verb 160 C — FAS <BR>
 
628 — 1x15 Vibrato Verb 160 D — FAS <BR>
 
629 — 1x15 Vibrato Verb 313 A — FAS <BR>
 
630 — 1x15 Vibrato Verb 313 B — FAS <BR>
 
631 — 1x15 Vibrato Verb 313 C — FAS <BR>
 
632 — 1x15 Vibrato Verb 313 D — FAS <BR>
 
633 — 1x15 Vibrato Verb 313 E — FAS <BR>
 
634 — 1x15 Vibrato Verb 313 G — FAS <BR>
 
635 — 1x15 Vibrato Verb 421 A — FAS <BR>
 
636 — 1x15 Vibrato Verb 421 B — FAS <BR>
 
637 — 1x15 Vibrato Verb 421 C — FAS <BR>
 
638 — 1x15 Vibrato Verb 421 D — FAS <BR>
 
639 — 1x15 Vibrato Verb 4047 A — FAS <BR>
 
640 — 1x15 Vibrato Verb 4047 B — FAS <BR>
 
641 — 1x15 Vibrato Verb 4047 C — FAS <BR>
 
642 — 1x15 Vibrato Verb 4047 D — FAS <BR>
 
<BR>
 
Based on a Fender Pawn Shop Special Excelsior with a single 15" speaker. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
643 — 1x15 XL-Pawn 57 A — FAS <BR>
 
644 — 1x15 XL-Pawn 57 B — FAS <BR>
 
645 — 1x15 XL-Pawn 57 C — FAS <BR>
 
646 — 1x15 XL-Pawn 57 D — FAS <BR>
 
647 — 1x15 XL-Pawn 121 A — FAS <BR>
 
648 — 1x15 XL-Pawn 121 B — FAS <BR>
 
649 — 1x15 XL-Pawn 121 C — FAS <BR>
 
650 — 1x15 XL-Pawn 121 D — FAS <BR>
 
651 — 1x15 XL-Pawn 121 E — FAS <BR>
 
652 — 1x15 XL-Pawn 160 A — FAS <BR>
 
653 — 1x15 XL-Pawn 160 B — FAS <BR>
 
654 — 1x15 XL-Pawn 160 C — FAS <BR>
 
655 — 1x15 XL-Pawn 313 A — FAS <BR>
 
656 — 1x15 XL-Pawn 313 B — FAS <BR>
 
657 — 1x15 XL-Pawn 313 C — FAS <BR>
 
658 — 1x15 XL-Pawn 313 D — FAS <BR>
 
659 — 1x15 XL-Pawn 4047 A — FAS <BR>
 
660 — 1x15 XL-Pawn 4047 C — FAS <BR>
 
<BR>
 
Based on an Ampeg SVT-210AV bass cabinet with two 10" speakers. Source: OwnHammer AMPG BASS <BR>
 
661 — 2x10 AMPG AVT-10 57 OH — OwnHammer <BR>
 
662 — 2x10 AMPG AVT-10 121 OH — OwnHammer <BR>
 
663 — 2x10 AMPG AVT-10 SUB OH — OwnHammer <BR>
 
664 — 2x10 AMPG AVT-10 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a 1960’s-era Fender Blackface Vibrolux with original 10” Jensen speakers. Source: AustinBuddy’s Vintage Black & Tweed Cab Pack <BR>
 
665 — 2x10 B-Face Vibe Lux 57 C2 AB — Austin Buddy <BR>
 
666 — 2x10 B-Face Vibe Lux 57 D AB — Austin Buddy <BR>
 
667 — 2x10 B-Face Vibe Lux 67 D 5 AB — Austin Buddy <BR>
 
668 — 2x10 B-Face Vibe Lux 67 Room AB — Austin Buddy <BR>
 
669 — 2x10 B-Face Vibe Lux 121 A2 AB — Austin Buddy <BR>
 
670 — 2x10 B-Face Vibe Lux 160 A AB — Austin Buddy <BR>
 
671 — 2x10 B-Face Vibe Lux 160 B AB — Austin Buddy <BR>
 
<BR>
 
Based on a Lexicon SB210 Studio with two 10" speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
672 — 2x10 Lexical 57 A — FAS <BR>
 
673 — 2x10 Lexical 57 B — FAS <BR>
 
674 — 2x10 Lexical 57 C — FAS <BR>
 
675 — 2x10 Lexical 121 A — FAS <BR>
 
676 — 2x10 Lexical 121 B — FAS <BR>
 
677 — 2x10 Lexical 160 A — FAS <BR>
 
678 — 2x10 Lexical 160 B — FAS <BR>
 
679 — 2x10 Lexical 4047 A — FAS <BR>
 
680 — 2x10 Lexical 4047 B — FAS <BR>
 
681 — 2x10 Lexical 4047 C — FAS <BR>
 
<BR>
 
Based on Keith Urban’s own “#1” 1959 Fender Tweed Twin with Two-Rock CR12 speakers. Source: Cab Pack 15: American 2x12s <BR>
 
682 — 2x12 '59 Tweed Dbl 57 -L A — FAS <BR>
 
683 — 2x12 '59 Tweed Dbl 57 -L B — FAS <BR>
 
684 — 2x12 '59 Tweed Dbl 57 -L C — FAS <BR>
 
685 — 2x12 '59 Tweed Dbl 57 -L D — FAS <BR>
 
686 — 2x12 '59 Tweed Dbl 57 -L OFF-X — FAS <BR>
 
687 — 2x12 '59 Tweed Dbl 57 -R A — FAS <BR>
 
688 — 2x12 '59 Tweed Dbl 57 -R B — FAS <BR>
 
689 — 2x12 '59 Tweed Dbl 57 -R C — FAS <BR>
 
690 — 2x12 '59 Tweed Dbl 57 -R OFF-X — FAS <BR>
 
691 — 2x12 '59 Tweed Dbl 121 -L A REV — FAS <BR>
 
692 — 2x12 '59 Tweed Dbl 121 -L A — FAS <BR>
 
693 — 2x12 '59 Tweed Dbl 121 -L B — FAS <BR>
 
694 — 2x12 '59 Tweed Dbl 121 -L C — FAS <BR>
 
695 — 2x12 '59 Tweed Dbl 121 -L D — FAS <BR>
 
696 — 2x12 '59 Tweed Dbl 121 -R A REV — FAS <BR>
 
697 — 2x12 '59 Tweed Dbl 121 -R A — FAS <BR>
 
698 — 2x12 '59 Tweed Dbl 121 -R B — FAS <BR>
 
699 — 2x12 '59 Tweed Dbl 121 -R C — FAS <BR>
 
700 — 2x12 '59 Tweed Dbl 160 -L A — FAS <BR>
 
701 — 2x12 '59 Tweed Dbl 160 -L B — FAS <BR>
 
702 — 2x12 '59 Tweed Dbl 160 -L C — FAS <BR>
 
703 — 2x12 '59 Tweed Dbl 160 -R A — FAS <BR>
 
704 — 2x12 '59 Tweed Dbl 160 -R B — FAS <BR>
 
705 — 2x12 '59 Tweed Dbl 160 -R C — FAS <BR>
 
706 — 2x12 '59 Tweed Dbl 313 -L A — FAS <BR>
 
707 — 2x12 '59 Tweed Dbl 313 -L B — FAS <BR>
 
708 — 2x12 '59 Tweed Dbl 313 -L C — FAS <BR>
 
709 — 2x12 '59 Tweed Dbl 313 -R A — FAS <BR>
 
710 — 2x12 '59 Tweed Dbl 313 -R B — FAS <BR>
 
711 — 2x12 '59 Tweed Dbl 313 -R C — FAS <BR>
 
712 — 2x12 '59 Tweed Dbl 421 -L A — FAS <BR>
 
713 — 2x12 '59 Tweed Dbl 421 -L B — FAS <BR>
 
714 — 2x12 '59 Tweed Dbl 421 -L C — FAS <BR>
 
715 — 2x12 '59 Tweed Dbl 421 -L D — FAS <BR>
 
716 — 2x12 '59 Tweed Dbl 421 -R A — FAS <BR>
 
717 — 2x12 '59 Tweed Dbl 421 -R B — FAS <BR>
 
718 — 2x12 '59 Tweed Dbl 421 -R C — FAS <BR>
 
719 — 2x12 '59 Tweed Dbl 421 -R D — FAS <BR>
 
720 — 2x12 '59 Tweed Dbl 421 -R OFF-X — FAS <BR>
 
721 — 2x12 '59 Tweed Dbl 4047 -L A — FAS <BR>
 
722 — 2x12 '59 Tweed Dbl 4047 -L B — FAS <BR>
 
723 — 2x12 '59 Tweed Dbl 4047 -L C — FAS <BR>
 
724 — 2x12 '59 Tweed Dbl 4047 -R A — FAS <BR>
 
725 — 2x12 '59 Tweed Dbl 4047 -R B — FAS <BR>
 
726 — 2x12 '59 Tweed Dbl 4047 -R C — FAS <BR>
 
727 — 2x12 '59 Tweed Dbl RNR -L A HPF — FAS <BR>
 
728 — 2x12 '59 Tweed Dbl RNR -L A — FAS <BR>
 
729 — 2x12 '59 Tweed Dbl RNR -L B — FAS <BR>
 
730 — 2x12 '59 Tweed Dbl RNR -L C — FAS <BR>
 
731 — 2x12 '59 Tweed Dbl RNR -L D HPF — FAS <BR>
 
732 — 2x12 '59 Tweed Dbl RNR -R A HPF — FAS <BR>
 
733 — 2x12 '59 Tweed Dbl RNR -R A — FAS <BR>
 
734 — 2x12 '59 Tweed Dbl RNR -R B — FAS <BR>
 
735 — 2x12 '59 Tweed Dbl RNR -R C — FAS <BR>
 
736 — 2x12 '59 Tweed Dbl RNR -R D — FAS <BR>
 
737 — 2x12 '59 Tweed Dbl RNR B HPR F — FAS <BR>
 
738 — 2x12 '59 Tweed Dbl SM7 -L A — FAS <BR>
 
739 — 2x12 '59 Tweed Dbl SM7 -L B — FAS <BR>
 
740 — 2x12 '59 Tweed Dbl SM7 -L C — FAS <BR>
 
741 — 2x12 '59 Tweed Dbl SM7 -R A — FAS <BR>
 
742 — 2x12 '59 Tweed Dbl SM7 -R B — FAS <BR>
 
743 — 2x12 '59 Tweed Dbl SM7 -R C — FAS <BR>
 
<BR>
 
Based on a mid-1960’s-era Fender Blackface Bassman with a 2x12 closed-back cab with original Jensen speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
744 — 2x12 B-Face B-Man 57 C AB — Austin Buddy <BR>
 
745 — 2x12 B-Face B-Man 67 A AB — Austin Buddy <BR>
 
746 — 2x12 B-Face B-Man 121 A AB — Austin Buddy <BR>
 
747 — 2x12 B-Face B-Man 160 B AB — Austin Buddy <BR>
 
748 — 2x12 B-Face B-Man 160 C AB — Austin Buddy <BR>
 
749 — 2x12 B-Face B-Man 421 C AB — Austin Buddy <BR>
 
<BR>
 
Based on a Bludotone open “Oval Back” cab, loaded with a pair of special Bludotone-designed KTS-style Austin Speaker Works speakers. Source: Cab Pack 17: Buddy’s Boutique Cabs <BR>
 
750 — 2x12 Bludo ASW 57 A — Austin Buddy <BR>
 
751 — 2x12 Bludo ASW 57 B Off-Axis — Austin Buddy <BR>
 
752 — 2x12 Bludo ASW 57 B — Austin Buddy <BR>
 
753 — 2x12 Bludo ASW 57 D — Austin Buddy <BR>
 
754 — 2x12 Bludo ASW 87 Room — Austin Buddy <BR>
 
755 — 2x12 Bludo ASW 121 A — Austin Buddy <BR>
 
756 — 2x12 Bludo ASW 121 B Off-Axis — Austin Buddy <BR>
 
757 — 2x12 Bludo ASW 121 B — Austin Buddy <BR>
 
758 — 2x12 Bludo ASW 121 D — Austin Buddy <BR>
 
759 — 2x12 Bludo ASW 121 Rear — Austin Buddy <BR>
 
760 — 2x12 Bludo ASW 160 A — Austin Buddy <BR>
 
761 — 2x12 Bludo ASW 160 B Off-Axis — Austin Buddy <BR>
 
762 — 2x12 Bludo ASW 160 B — Austin Buddy <BR>
 
763 — 2x12 Bludo ASW 160 D — Austin Buddy <BR>
 
764 — 2x12 Bludo ASW 421 A — Austin Buddy <BR>
 
765 — 2x12 Bludo ASW 421 B Off-Axis — Austin Buddy <BR>
 
766 — 2x12 Bludo ASW 421 B — Austin Buddy <BR>
 
767 — 2x12 Bludo ASW 421 D — Austin Buddy <BR>
 
768 — 2x12 Bludo ASW 906 A — Austin Buddy <BR>
 
769 — 2x12 Bludo ASW 906 B — Austin Buddy <BR>
 
770 — 2x12 Bludo ASW 906 D — Austin Buddy <BR>
 
<BR>
 
Based on a Bludotone open “Oval Back” cab, loaded with Celestion G12-65H heritage speakers (similar to a Dumble cab used by Robben Ford). Source: Cab Pack 17: Buddy’s Boutique Cabs <BR>
 
771 — 2x12 Bludo H65 57 A — Austin Buddy <BR>
 
772 — 2x12 Bludo H65 57 B Off-Axis — Austin Buddy <BR>
 
773 — 2x12 Bludo H65 57 B — Austin Buddy <BR>
 
774 — 2x12 Bludo H65 57 D — Austin Buddy <BR>
 
775 — 2x12 Bludo H65 87 Room — Austin Buddy <BR>
 
776 — 2x12 Bludo H65 121 A — Austin Buddy <BR>
 
777 — 2x12 Bludo H65 121 B Off-Axis — Austin Buddy <BR>
 
778 — 2x12 Bludo H65 121 B — Austin Buddy <BR>
 
779 — 2x12 Bludo H65 121 D — Austin Buddy <BR>
 
780 — 2x12 Bludo H65 121 Rear — Austin Buddy <BR>
 
781 — 2x12 Bludo H65 160 A — Austin Buddy <BR>
 
782 — 2x12 Bludo H65 160 B Off-Axis — Austin Buddy <BR>
 
783 — 2x12 Bludo H65 160 B — Austin Buddy <BR>
 
784 — 2x12 Bludo H65 160 D — Austin Buddy <BR>
 
785 — 2x12 Bludo H65 421 A — Austin Buddy <BR>
 
786 — 2x12 Bludo H65 421 B Off-Axis — Austin Buddy <BR>
 
787 — 2x12 Bludo H65 421 B — Austin Buddy <BR>
 
788 — 2x12 Bludo H65 421 D — Austin Buddy <BR>
 
789 — 2x12 Bludo H65 906 A — Austin Buddy <BR>
 
790 — 2x12 Bludo H65 906 B — Austin Buddy <BR>
 
791 — 2x12 Bludo H65 906 D — Austin Buddy <BR>
 
<BR>
 
Based on a vintage 1971 oversized 2x12 Marshall basketweave closed-back cabinet with original Celestion G12-25M greenback speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
792 — 2x12 Brit Big 57 C AB — Austin Buddy <BR>
 
793 — 2x12 Brit Big 57 D AB — Austin Buddy <BR>
 
794 — 2x12 Brit Big 67 Room AB — Austin Buddy <BR>
 
795 — 2x12 Brit Big 121 A2 AB — Austin Buddy <BR>
 
796 — 2x12 Brit Big 121 B AB — Austin Buddy <BR>
 
797 — 2x12 Brit Big 121 C AB — Austin Buddy <BR>
 
798 — 2x12 Brit Big 121 D AB — Austin Buddy <BR>
 
799 — 2x12 Brit Big 160 D AB — Austin Buddy <BR>
 
800 — 2x12 Brit Big 421 C AB — Austin Buddy <BR>
 
801 — 2x12 Brit Big 421 D2 AB — Austin Buddy <BR>
 
<BR>
 
Based on a 1987-era grey Marshall 2x12 cabinet with original stock Celestion speakers, signed by Jim Marshall. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
802 — 2x12 Brit Small 57 C AB — Austin Buddy <BR>
 
803 — 2x12 Brit Small 67 C AB — Austin Buddy <BR>
 
804 — 2x12 Brit Small 67 Room AB — Austin Buddy <BR>
 
805 — 2x12 Brit Small 121 A AB — Austin Buddy <BR>
 
806 — 2x12 Brit Small 121 D AB — Austin Buddy <BR>
 
807 — 2x12 Brit Small 160 B AB — Austin Buddy <BR>
 
808 — 2x12 Brit Small 421 D AB — Austin Buddy <BR>
 
<BR>
 
Based on a Fender Brownface Super, all original. Source: Cab Pack 15: American 2x12s <BR>
 
809 — 2x12 Brown Super 57 A — FAS <BR>
 
810 — 2x12 Brown Super 57 B — FAS <BR>
 
811 — 2x12 Brown Super 57 C — FAS <BR>
 
812 — 2x12 Brown Super 57 D — FAS <BR>
 
813 — 2x12 Brown Super 57 E — FAS <BR>
 
814 — 2x12 Brown Super 121 A — FAS <BR>
 
815 — 2x12 Brown Super 121 B — FAS <BR>
 
816 — 2x12 Brown Super 121 C — FAS <BR>
 
817 — 2x12 Brown Super 160 A — FAS <BR>
 
818 — 2x12 Brown Super 160 B — FAS <BR>
 
819 — 2x12 Brown Super 160 C — FAS <BR>
 
820 — 2x12 Brown Super 313 A — FAS <BR>
 
821 — 2x12 Brown Super 313 B — FAS <BR>
 
822 — 2x12 Brown Super 421 A — FAS <BR>
 
823 — 2x12 Brown Super 421 B — FAS <BR>
 
824 — 2x12 Brown Super 421 C — FAS <BR>
 
825 — 2x12 Brown Super 421 D — FAS <BR>
 
826 — 2x12 Brown Super 4047 A — FAS <BR>
 
827 — 2x12 Brown Super 4047 B — FAS <BR>
 
828 — 2x12 Brown Super 4047 C — FAS <BR>
 
829 — 2x12 Brown Super RNR A — FAS <BR>
 
830 — 2x12 Brown Super RNR B — FAS <BR>
 
831 — 2x12 Brown Super RNR C — FAS <BR>
 
832 — 2x12 Brown Super RNR D — FAS <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
833 — 2x12 Class-A 57 A — FAS <BR>
 
834 — 2x12 Class-A 57 B — FAS <BR>
 
<BR>
 
Based on a 1964 Vox AC30 Top Boost with original Alnico Blue speakers. Source: Cab Pack 18: ML Class-A 2x12 <BR>
 
835 — 2x12 Class-A 57 B1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
836 — 2x12 Class-A 57 C — FAS <BR>
 
837 — 2x12 Class-A 57 D — FAS <BR>
 
838 — 2x12 Class-A 57 E — FAS <BR>
 
839 — 2x12 Class-A 57 F — FAS <BR>
 
840 — 2x12 Class-A 57 G — FAS <BR>
 
841 — 2x12 Class-A 57 Off-Axis — FAS <BR>
 
842 — 2x12 Class-A 121 A Rev — FAS <BR>
 
843 — 2x12 Class-A 121 A — FAS <BR>
 
844 — 2x12 Class-A 121 B — FAS <BR>
 
<BR>
 
Based on a 1964 Vox AC30 Top Boost with original Alnico Blue speakers. Source: Cab Pack 18: ML Class-A 2x12 <BR>
 
845 — 2x12 Class-A 121 B1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
846 — 2x12 Class-A 121 C — FAS <BR>
 
847 — 2x12 Class-A 121 CC Rev — FAS <BR>
 
848 — 2x12 Class-A 121 CC — FAS <BR>
 
849 — 2x12 Class-A 121 D — FAS <BR>
 
850 — 2x12 Class-A 121 E — FAS <BR>
 
851 — 2x12 Class-A 121 Off-Axis — FAS <BR>
 
852 — 2x12 Class-A 160 A — FAS <BR>
 
853 — 2x12 Class-A 160 B — FAS <BR>
 
<BR>
 
Based on a 1964 Vox AC30 Top Boost with original Alnico Blue speakers. Source: Cab Pack 18: ML Class-A 2x12 <BR>
 
854 — 2x12 Class-A 160 B1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
855 — 2x12 Class-A 160 C — FAS <BR>
 
856 — 2x12 Class-A 160 Cone — FAS <BR>
 
857 — 2x12 Class-A 160 Off-Axis — FAS <BR>
 
858 — 2x12 Class-A 160 Wood — FAS <BR>
 
859 — 2x12 Class-A 350 Cone — FAS <BR>
 
860 — 2x12 Class-A 350 Off-Axis — FAS <BR>
 
861 — 2x12 Class-A 350 — FAS <BR>
 
862 — 2x12 Class-A 414 A — FAS <BR>
 
863 — 2x12 Class-A 414 B — FAS <BR>
 
864 — 2x12 Class-A 414 C — FAS <BR>
 
865 — 2x12 Class-A 414 D — FAS <BR>
 
866 — 2x12 Class-A 414 E — FAS <BR>
 
867 — 2x12 Class-A 414 F — FAS <BR>
 
<BR>
 
Based on a 1964 Vox AC30 Top Boost with original Alnico Blue speakers. Source: Cab Pack 18: ML Class-A 2x12 <BR>
 
868 — 2x12 Class-A 421 B1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
869 — 2x12 Class-A 421 Cone — FAS <BR>
 
870 — 2x12 Class-A 421 Off-Axis — FAS <BR>
 
871 — 2x12 Class-A 421 — FAS <BR>
 
872 — 2x12 Class-A 906 A — FAS <BR>
 
873 — 2x12 Class-A 906 B — FAS <BR>
 
874 — 2x12 Class-A 906 Blues — FAS <BR>
 
875 — 2x12 Class-A 906 C — FAS <BR>
 
876 — 2x12 Class-A 906 Cone #2 — FAS <BR>
 
877 — 2x12 Class-A 906 Cone — FAS <BR>
 
878 — 2x12 Class-A 906 Off-Axis — FAS <BR>
 
879 — 2x12 Class-A A51 A — FAS <BR>
 
880 — 2x12 Class-A A51 B — FAS <BR>
 
881 — 2x12 Class-A A51 C — FAS <BR>
 
<BR>
 
Based on a vintage 1960’s-era Vox AC30 (open-back) with vintage Celestion G12-M25 Greenbacks instead of the original speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
882 — 2x12 Class-A GB 57 B AB — Austin Buddy <BR>
 
883 — 2x12 Class-A GB 67 D AB — Austin Buddy <BR>
 
884 — 2x12 Class-A GB 67 Room AB — Austin Buddy <BR>
 
885 — 2x12 Class-A GB 121 A AB — Austin Buddy <BR>
 
886 — 2x12 Class-A GB 121 B AB — Austin Buddy <BR>
 
887 — 2x12 Class-A GB 160 B AB — Austin Buddy <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
888 — 2x12 Class-A I5 Cone — FAS <BR>
 
889 — 2x12 Class-A I5 Off-Axis — FAS <BR>
 
890 — 2x12 Class-A I5 — FAS <BR>
 
<BR>
 
Based on a Vox AC-30 non Top-Boost model (1963). Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
891 — 2x12 Class-A NTB 30W 57 A — FAS <BR>
 
892 — 2x12 Class-A NTB 30W 57 B — FAS <BR>
 
893 — 2x12 Class-A NTB 30W 57 C — FAS <BR>
 
894 — 2x12 Class-A NTB 30W 57 D — FAS <BR>
 
895 — 2x12 Class-A NTB 30W 57 E — FAS <BR>
 
896 — 2x12 Class-A NTB 30W 58 A — FAS <BR>
 
897 — 2x12 Class-A NTB 30W 58 B — FAS <BR>
 
898 — 2x12 Class-A NTB 30W 58 C — FAS <BR>
 
899 — 2x12 Class-A NTB 30W 58 D — FAS <BR>
 
900 — 2x12 Class-A NTB 30W 58 E — FAS <BR>
 
901 — 2x12 Class-A NTB 30W 58 F — FAS <BR>
 
902 — 2x12 Class-A NTB 30W 121 A — FAS <BR>
 
903 — 2x12 Class-A NTB 30W 121 C — FAS <BR>
 
904 — 2x12 Class-A NTB 30W 121 D — FAS <BR>
 
905 — 2x12 Class-A NTB 30W 121 E — FAS <BR>
 
906 — 2x12 Class-A NTB 30W 160 A — FAS <BR>
 
907 — 2x12 Class-A NTB 30W 160 B — FAS <BR>
 
908 — 2x12 Class-A NTB 30W 160 C — FAS <BR>
 
909 — 2x12 Class-A NTB 30W 160 D — FAS <BR>
 
910 — 2x12 Class-A NTB 30W 160 E — FAS <BR>
 
911 — 2x12 Class-A NTB 30W 313 A — FAS <BR>
 
912 — 2x12 Class-A NTB 30W 313 B — FAS <BR>
 
913 — 2x12 Class-A NTB 30W 313 C — FAS <BR>
 
914 — 2x12 Class-A NTB 30W 313 D — FAS <BR>
 
915 — 2x12 Class-A NTB 30W 313 E — FAS <BR>
 
916 — 2x12 Class-A NTB 30W 313 F — FAS <BR>
 
917 — 2x12 Class-A NTB 30W 313 G — FAS <BR>
 
918 — 2x12 Class-A NTB 30W 313 H — FAS <BR>
 
919 — 2x12 Class-A NTB 30W 421 A — FAS <BR>
 
920 — 2x12 Class-A NTB 30W 421 B — FAS <BR>
 
921 — 2x12 Class-A NTB 30W 421 C — FAS <BR>
 
922 — 2x12 Class-A NTB 30W 421 D — FAS <BR>
 
923 — 2x12 Class-A NTB 30W 421 E — FAS <BR>
 
924 — 2x12 Class-A NTB 30W 421 F — FAS <BR>
 
925 — 2x12 Class-A NTB 30W 4047 A — FAS <BR>
 
926 — 2x12 Class-A NTB 30W 4047 B — FAS <BR>
 
927 — 2x12 Class-A NTB 30W 4047 C — FAS <BR>
 
928 — 2x12 Class-A NTB 30W 4047 D — FAS <BR>
 
929 — 2x12 Class-A NTB 30W 4047 E — FAS <BR>
 
930 — 2x12 Class-A NTB 30W 4047 F — FAS <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers (Cab Pack 4: Universal Noise Storage) or a custom-made Vox 2x12 cab with vintage G12M25 speakers (Cab Pack 6: “Cabs in the Attic”) <BR>
 
931 — 2x12 Class-A SM7 Cone — FAS <BR>
 
932 — 2x12 Class-A SM7 Off-Axis — FAS <BR>
 
933 — 2x12 Class-A SM7 — FAS <BR>
 
<BR>
 
Based on a 2x12 Vox AC30 with Alnico Blue speakers. Source: Cab Pack 4: Universal Noise Storage <BR>
 
934 — 2x12 Class-A Tom's Mix Left — FAS <BR>
 
935 — 2x12 Class-A Tom's Mix Right — FAS <BR>
 
<BR>
 
Based on a Divided by 13 cab with a G12H and an Alnico Blue speaker. Source: Cab Pack 6: “Cabs in the Attic” <BR>
 
936 — 2x12 Division-13 57 A — FAS <BR>
 
937 — 2x12 Division-13 57 B — FAS <BR>
 
938 — 2x12 Division-13 57 C — FAS <BR>
 
939 — 2x12 Division-13 57 D — FAS <BR>
 
940 — 2x12 Division-13 57 E — FAS <BR>
 
941 — 2x12 Division-13 57 F — FAS <BR>
 
942 — 2x12 Division-13 121 A — FAS <BR>
 
943 — 2x12 Division-13 121 B — FAS <BR>
 
944 — 2x12 Division-13 121 C — FAS <BR>
 
945 — 2x12 Division-13 414 A — FAS <BR>
 
946 — 2x12 Division-13 414 B — FAS <BR>
 
947 — 2x12 Division-13 414 C — FAS <BR>
 
948 — 2x12 Division-13 414 D — FAS <BR>
 
949 — 2x12 Division-13 906 A — FAS <BR>
 
950 — 2x12 Division-13 906 B — FAS <BR>
 
951 — 2x12 Division-13 906 C — FAS <BR>
 
952 — 2x12 Division-13 A51 A — FAS <BR>
 
953 — 2x12 Division-13 A51 B — FAS <BR>
 
954 — 2x12 Division-13 A51 C — FAS <BR>
 
<BR>
 
Based on a Fender Twin (Cab Pack 4: Universal Noise Storage) or 1960s Fender Silverface Twin with Jensen speakers (Cab Pack 15: American 2x12s) or a '68 Fender Twin Reverb (Cab Pack 21: Wellspring UltraRes Collection Vol. 1) <BR>
 
955 — 2x12 Double Verb 57 A — FAS <BR>
 
956 — 2x12 Double Verb 57 B — FAS <BR>
 
957 — 2x12 Double Verb 57 C — FAS <BR>
 
958 — 2x12 Double Verb 57 D — FAS <BR>
 
959 — 2x12 Double Verb 57 E — FAS <BR>
 
960 — 2x12 Double Verb 57 F — FAS <BR>
 
961 — 2x12 Double Verb 57 G — FAS <BR>
 
962 — 2x12 Double Verb 57 Off-Axis — FAS <BR>
 
<BR>
 
Based on a Fender Twin Reverb mix created by Matt from Fractal Audio <BR>
 
963 — 2x12 Double Verb 58 M@ — FAS <BR>
 
<BR>
 
Based on a Fender Twin (Cab Pack 4: Universal Noise Storage) or 1960s Fender Silverface Twin with Jensen speakers (Cab Pack 15: American 2x12s) or a '68 Fender Twin Reverb (Cab Pack 21: Wellspring UltraRes Collection Vol. 1) <BR>
 
964 — 2x12 Double Verb 121 1 ML — ML Sound Lab <BR>
 
965 — 2x12 Double Verb 121 2 ML — ML Sound Lab <BR>
 
966 — 2x12 Double Verb 121 3 ML — ML Sound Lab <BR>
 
967 — 2x12 Double Verb 121 4 ML — ML Sound Lab <BR>
 
968 — 2x12 Double Verb 121 5 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Fender Twin (Cab Pack 4: Universal Noise Storage) or 1960s Fender Silverface Twin with Jensen speakers (Cab Pack 15: American 2x12s) or a '68 Fender Twin Reverb (Cab Pack 21: Wellspring UltraRes Collection Vol. 1) <BR>
 
969 — 2x12 Double Verb 121 A — FAS <BR>
 
970 — 2x12 Double Verb 121 B — FAS <BR>
 
971 — 2x12 Double Verb 121 C — FAS <BR>
 
972 — 2x12 Double Verb 121 Cone A — FAS <BR>
 
973 — 2x12 Double Verb 121 Cone B Rev — FAS <BR>
 
974 — 2x12 Double Verb 121 Cone B — FAS <BR>
 
975 — 2x12 Double Verb 121 D — FAS <BR>
 
976 — 2x12 Double Verb 121 E — FAS <BR>
 
977 — 2x12 Double Verb 121 F — FAS <BR>
 
978 — 2x12 Double Verb 121 Off-Axis — FAS <BR>
 
979 — 2x12 Double Verb 121 — FAS <BR>
 
<BR>
 
980 — 2x12 Double Verb 160 1 ML — ML Sound Lab <BR>
 
981 — 2x12 Double Verb 160 2 ML — ML Sound Lab <BR>
 
982 — 2x12 Double Verb 160 3 ML — ML Sound Lab <BR>
 
983 — 2x12 Double Verb 160 4 ML — ML Sound Lab <BR>
 
984 — 2x12 Double Verb 160 5 ML — ML Sound Lab <BR>
 
<BR>
 
985 — 2x12 Double Verb 160 A — FAS <BR>
 
986 — 2x12 Double Verb 160 B — FAS <BR>
 
987 — 2x12 Double Verb 160 C — FAS <BR>
 
988 — 2x12 Double Verb 160 Cone — FAS <BR>
 
989 — 2x12 Double Verb 160 D — FAS <BR>
 
990 — 2x12 Double Verb 160 E — FAS <BR>
 
991 — 2x12 Double Verb 160 Off-Axis — FAS <BR>
 
992 — 2x12 Double Verb 160 — FAS <BR>
 
993 — 2x12 Double Verb 313 A — FAS <BR>
 
994 — 2x12 Double Verb 313 B — FAS <BR>
 
995 — 2x12 Double Verb 313 C — FAS <BR>
 
996 — 2x12 Double Verb 313 D — FAS <BR>
 
997 — 2x12 Double Verb 313 E — FAS <BR>
 
998 — 2x12 Double Verb 313 F — FAS <BR>
 
999 — 2x12 Double Verb 313 Rear — FAS <BR>
 
1000 — 2x12 Double Verb 350 Cone — FAS <BR>
 
1001 — 2x12 Double Verb 350 Off-Axis — FAS <BR>
 
1002 — 2x12 Double Verb 350 — FAS <BR>
 
<BR>
 
1003 — 2x12 Double Verb 421 1 ML — ML Sound Lab <BR>
 
1004 — 2x12 Double Verb 421 2 ML — ML Sound Lab <BR>
 
1005 — 2x12 Double Verb 421 3 ML — ML Sound Lab <BR>
 
1006 — 2x12 Double Verb 421 4 ML — ML Sound Lab <BR>
 
1007 — 2x12 Double Verb 421 5 ML — ML Sound Lab <BR>
 
<BR>
 
1008 — 2x12 Double Verb 421 A — FAS <BR>
 
1009 — 2x12 Double Verb 421 B — FAS <BR>
 
1010 — 2x12 Double Verb 421 C — FAS <BR>
 
1011 — 2x12 Double Verb 421 Cone — FAS <BR>
 
1012 — 2x12 Double Verb 421 D — FAS <BR>
 
1013 — 2x12 Double Verb 421 Off-Axis — FAS <BR>
 
1014 — 2x12 Double Verb 421 — FAS <BR>
 
<BR>
 
1015 — 2x12 Double Verb 906 1 ML — ML Sound Lab <BR>
 
1016 — 2x12 Double Verb 906 2 ML — ML Sound Lab <BR>
 
1017 — 2x12 Double Verb 906 3 ML — ML Sound Lab <BR>
 
1018 — 2x12 Double Verb 906 4 ML — ML Sound Lab <BR>
 
1019 — 2x12 Double Verb 906 5 ML — ML Sound Lab <BR>
 
<BR>
 
1020 — 2x12 Double Verb 906 A — FAS <BR>
 
1021 — 2x12 Double Verb 906 B — FAS <BR>
 
1022 — 2x12 Double Verb 906 C — FAS <BR>
 
1023 — 2x12 Double Verb 906 Cone — FAS <BR>
 
1024 — 2x12 Double Verb 906 Off-Axis — FAS <BR>
 
1 — 2x12 Double Verb 906 — FAS <BR>
 
2 — 2x12 Double Verb 4047 A — FAS <BR>
 
3 — 2x12 Double Verb 4047 B — FAS <BR>
 
4 — 2x12 Double Verb 4047 C — FAS <BR>
 
5 — 2x12 Double Verb I5 Cone — FAS <BR>
 
6 — 2x12 Double Verb I5 — FAS <BR>
 
7 — 2x12 Double Verb RNR A — FAS <BR>
 
8 — 2x12 Double Verb RNR B — FAS <BR>
 
9 — 2x12 Double Verb RNR C — FAS <BR>
 
10 — 2x12 Double Verb RNR D — FAS <BR>
 
11 — 2x12 Double Verb RNR E — FAS <BR>
 
12 — 2x12 Double Verb RNR F — FAS <BR>
 
13 — 2x12 Double Verb RNR G — FAS <BR>
 
14 — 2x12 Double Verb RNR REAR A — FAS <BR>
 
15 — 2x12 Double Verb SM7 Cone — FAS <BR>
 
16 — 2x12 Double Verb SM7 Off-Axis — FAS <BR>
 
17 — 2x12 Double Verb SM7 — FAS <BR>
 
<BR>
 
18 — 2x12 Double Verb2 57 A ML — ML Sound Lab <BR>
 
19 — 2x12 Double Verb2 57 B ML — ML Sound Lab <BR>
 
20 — 2x12 Double Verb2 57 C ML — ML Sound Lab <BR>
 
21 — 2x12 Double Verb2 57 E ML — ML Sound Lab <BR>
 
22 — 2x12 Double Verb2 57 F ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Roland JC-120 Jazz Chorus. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
23 — 2x12 Jazz 120 57 A — FAS <BR>
 
24 — 2x12 Jazz 120 57 B — FAS <BR>
 
25 — 2x12 Jazz 120 57 C — FAS <BR>
 
26 — 2x12 Jazz 120 121 A — FAS <BR>
 
27 — 2x12 Jazz 120 121 B — FAS <BR>
 
28 — 2x12 Jazz 120 121 C — FAS <BR>
 
29 — 2x12 Jazz 120 121 D — FAS <BR>
 
30 — 2x12 Jazz 120 160 A — FAS <BR>
 
31 — 2x12 Jazz 120 160 B — FAS <BR>
 
32 — 2x12 Jazz 120 313 A — FAS <BR>
 
33 — 2x12 Jazz 120 313 B — FAS <BR>
 
34 — 2x12 Jazz 120 313 C — FAS <BR>
 
35 — 2x12 Jazz 120 313 D — FAS <BR>
 
36 — 2x12 Jazz 120 313 E — FAS <BR>
 
37 — 2x12 Jazz 120 421 A — FAS <BR>
 
38 — 2x12 Jazz 120 421 B — FAS <BR>
 
39 — 2x12 Jazz 120 421 C — FAS <BR>
 
40 — 2x12 Jazz 120 421 D — FAS <BR>
 
41 — 2x12 Jazz 120 4047 A — FAS <BR>
 
42 — 2x12 Jazz 120 4047 B — FAS <BR>
 
43 — 2x12 Jazz 120 4047 C — FAS <BR>
 
<BR>
 
Based on a Carvin Vai Legacy closed-back cab with V30 speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
44 — 2x12 Leggy 57 B — FAS <BR>
 
45 — 2x12 Leggy 57 — FAS <BR>
 
46 — 2x12 Leggy 121 B — FAS <BR>
 
47 — 2x12 Leggy 121 C — FAS <BR>
 
48 — 2x12 Leggy 121 D — FAS <BR>
 
49 — 2x12 Leggy 121 — FAS <BR>
 
50 — 2x12 Leggy 160 B — FAS <BR>
 
51 — 2x12 Leggy 160 C — FAS <BR>
 
52 — 2x12 Leggy 160 D — FAS <BR>
 
53 — 2x12 Leggy 160 — FAS <BR>
 
54 — 2x12 Leggy 4047 B — FAS <BR>
 
55 — 2x12 Leggy 4047 C — FAS <BR>
 
56 — 2x12 Leggy 4047 D — FAS <BR>
 
57 — 2x12 Leggy 4047 — FAS <BR>
 
<BR>
 
Based on a Marshall 1966B 2x12 cabinet with a multi-speaker collage: H-BB-55, H-PR-55, M-BB-55, M-PR20-75 and M-PR25-75. Source: OwnHammer 212-GTR MAR-66 Multi-Speaker Collection <BR>
 
58 — 2x12 MAR-66 OH-GREEN 57 OH — OwnHammer <BR>
 
59 — 2x12 MAR-66 OH-GREEN 84 Rear OH — OwnHammer <BR>
 
60 — 2x12 MAR-66 OH-GREEN 121 OH — OwnHammer <BR>
 
61 — 2x12 MAR-66 OH-GREEN U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a Marshall 1966B 2x12 cabinet with a multi-speaker collage: LYN-BK, V30-EN-08, and V30-EN-16. Source: OwnHammer 212-GTR MAR-66 Multi-Speaker Collection <BR>
 
62 — 2x12 MAR-66 OH-MDRN 57 OH — OwnHammer <BR>
 
63 — 2x12 MAR-66 OH-MDRN 84 Rear OH — OwnHammer <BR>
 
64 — 2x12 MAR-66 OH-MDRN 121 OH — OwnHammer <BR>
 
65 — 2x12 MAR-66 OH-MDRN U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a Matchless DC30 with Celestion G12M25 and G12H30 speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
66 — 2x12 Matchbox 57 B — FAS <BR>
 
67 — 2x12 Matchbox 57 — FAS <BR>
 
<BR>
 
Based on a white 2000-era Matchless DC-30 with mismatched Celestion G12M25 and G12H30 speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
68 — 2x12 Matchbox 67 B AB — Austin Buddy <BR>
 
69 — 2x12 Matchbox 67 Room AB — Austin Buddy <BR>
 
70 — 2x12 Matchbox 121 B AB — Austin Buddy <BR>
 
<BR>
 
Based on a Matchless DC30 with Celestion G12M25 and G12H30 speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
71 — 2x12 Matchbox 121 B — FAS <BR>
 
72 — 2x12 Matchbox 121 C — FAS <BR>
 
73 — 2x12 Matchbox 121 Rear — FAS <BR>
 
74 — 2x12 Matchbox 121 — FAS <BR>
 
<BR>
 
Based on a white 2000-era Matchless DC-30 with mismatched Celestion G12M25 and G12H30 speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
75 — 2x12 Matchbox 160 A AB — Austin Buddy <BR>
 
<BR>
 
Based on a Matchless DC30 with Celestion G12M25 and G12H30 speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
76 — 2x12 Matchbox 160 B — FAS <BR>
 
77 — 2x12 Matchbox 160 C — FAS <BR>
 
78 — 2x12 Matchbox 160 Rear — FAS <BR>
 
79 — 2x12 Matchbox 160 — FAS <BR>
 
<BR>
 
Based on a white 2000-era Matchless DC-30 with mismatched Celestion G12M25 and G12H30 speakers. Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
80 — 2x12 Matchbox 421 B AB — Austin Buddy <BR>
 
<BR>
 
Based on a Matchless DC30 with Celestion G12M25 and G12H30 speakers. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
81 — 2x12 Matchbox 4047 B — FAS <BR>
 
82 — 2x12 Matchbox 4047 Rear — FAS <BR>
 
83 — 2x12 Matchbox 4047 — FAS <BR>
 
<BR>
 
Based on a green 1990's-era Matchless DC-30 with mismatched Celestion G12M25 and G12H30 speakers (both speakers captured). Source: AustinBuddy’s Fantastic 2x12s Cab Pack <BR>
 
84 — 2x12 Matchbox2 -L 57 D AB — Austin Buddy <BR>
 
85 — 2x12 Matchbox2 -L 67 C AB — Austin Buddy <BR>
 
86 — 2x12 Matchbox2 -L 121 B AB — Austin Buddy <BR>
 
87 — 2x12 Matchbox2 -R 57 D AB — Austin Buddy <BR>
 
88 — 2x12 Matchbox2 -R 67 C AB — Austin Buddy <BR>
 
89 — 2x12 Matchbox2 -R 121 B AB — Austin Buddy <BR>
 
90 — 2x12 Matchbox2 -R 160 B AB — Austin Buddy <BR>
 
<BR>
 
Based on a Orange PPC212 closed-back cab with Celestion G12M25 Greenbacks. Source: OwnHammer 212 ORNG <BR>
 
91 — 2x12 ORNG M25 57 OH — OwnHammer <BR>
 
92 — 2x12 ORNG M25 84 Rear OH — OwnHammer <BR>
 
93 — 2x12 ORNG M25 121 OH — OwnHammer <BR>
 
94 — 2x12 ORNG M25 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a Mesa Boogie horizontal Rectifier 2x12 cabinet with 60W V30 speakers. Source: OwnHammer 212 Recto <BR>
 
95 — 2x12 RECTO V60 57 OH — OwnHammer <BR>
 
96 — 2x12 RECTO V60 84 Rear OH — OwnHammer <BR>
 
97 — 2x12 RECTO V60 121 OH — OwnHammer <BR>
 
98 — 2x12 RECTO V60 U70 OH — OwnHammer <BR>
 
<BR>
 
Based on a Mesa Boogie Dual Rectifier Tremoverb combo. Source: Cab Pack 21: Wellspring UltraRes Collection Vol. 1 <BR>
 
99 — 2x12 Trem-O-Verb 57 A — FAS <BR>
 
100 — 2x12 Trem-O-Verb 57 B — FAS <BR>
 
101 — 2x12 Trem-O-Verb 57 C — FAS <BR>
 
102 — 2x12 Trem-O-Verb 57 D — FAS <BR>
 
103 — 2x12 Trem-O-Verb 121 A — FAS <BR>
 
104 — 2x12 Trem-O-Verb 121 B — FAS <BR>
 
105 — 2x12 Trem-O-Verb 121 C — FAS <BR>
 
106 — 2x12 Trem-O-Verb 121 D — FAS <BR>
 
107 — 2x12 Trem-O-Verb 160 A — FAS <BR>
 
108 — 2x12 Trem-O-Verb 160 B — FAS <BR>
 
109 — 2x12 Trem-O-Verb 160 C — FAS <BR>
 
110 — 2x12 Trem-O-Verb 160 D — FAS <BR>
 
111 — 2x12 Trem-O-Verb 313 A — FAS <BR>
 
112 — 2x12 Trem-O-Verb 313 B — FAS <BR>
 
113 — 2x12 Trem-O-Verb 313 C — FAS <BR>
 
114 — 2x12 Trem-O-Verb 313 D — FAS <BR>
 
115 — 2x12 Trem-O-Verb 4047 A — FAS <BR>
 
116 — 2x12 Trem-O-Verb 4047 B — FAS <BR>
 
117 — 2x12 Trem-O-Verb 4047 C — FAS <BR>
 
118 — 2x12 Trem-O-Verb 4047 D — FAS <BR>
 
<BR>
 
Based on a Fender Tweed Twin? Captured by Chris Traynor (Bush) and James Santiago <BR>
 
119 — 2x12 Tweed Dbl 57 CapCone TS — Chris Traynor <BR>
 
120 — 2x12 Tweed Dbl 57 Cone TS — Chris Traynor <BR>
 
121 — 2x12 Tweed Dbl 121 Cap TS — Chris Traynor <BR>
 
122 — 2x12 Tweed Dbl 121 Cone TS — Chris Traynor <BR>
 
123 — 2x12 Tweed Dbl 421 Cone Cap TS — Chris Traynor <BR>
 
124 — 2x12 Tweed Dbl 421 Cone TS — Chris Traynor <BR>
 
<BR>
 
Based on a Two Rock 2x12 open “Oval Back” cab with Eminence K&M 65-16 speakers. Source: Cab Pack 17: Buddy’s Boutique Cabs <BR>
 
125 — 2x12 Two Stone 57 A — Austin Buddy <BR>
 
126 — 2x12 Two Stone 57 B Off-Axis — Austin Buddy <BR>
 
127 — 2x12 Two Stone 57 B — Austin Buddy <BR>
 
128 — 2x12 Two Stone 57 D — Austin Buddy <BR>
 
129 — 2x12 Two Stone 121 A — Austin Buddy <BR>
 
130 — 2x12 Two Stone 121 B Off-Axis — Austin Buddy <BR>
 
131 — 2x12 Two Stone 121 B-API — Austin Buddy <BR>
 
132 — 2x12 Two Stone 121 D — Austin Buddy <BR>
 
133 — 2x12 Two Stone 160 A — Austin Buddy <BR>
 
134 — 2x12 Two Stone 160 B Off-Axis — Austin Buddy <BR>
 
135 — 2x12 Two Stone 160 B — Austin Buddy <BR>
 
136 — 2x12 Two Stone 160 D — Austin Buddy <BR>
 
137 — 2x12 Two Stone 421 A — Austin Buddy <BR>
 
138 — 2x12 Two Stone 421 B Off-Axis — Austin Buddy <BR>
 
139 — 2x12 Two Stone 421 B — Austin Buddy <BR>
 
140 — 2x12 Two Stone 421 D — Austin Buddy <BR>
 
141 — 2x12 Two Stone 906 A — Austin Buddy <BR>
 
142 — 2x12 Two Stone 906 B — Austin Buddy <BR>
 
143 — 2x12 Two Stone 906 D — Austin Buddy <BR>
 
<BR>
 
Based on a Mesa Boogie Lonestar 2x12 cab. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
144 — 2x12 TX Star 57 B — FAS <BR>
 
145 — 2x12 TX Star 57 — FAS <BR>
 
146 — 2x12 TX Star 121 B — FAS <BR>
 
147 — 2x12 TX Star 121 — FAS <BR>
 
148 — 2x12 TX Star 160 B — FAS <BR>
 
149 — 2x12 TX Star 160 Rear — FAS <BR>
 
150 — 2x12 TX Star 160 — FAS <BR>
 
151 — 2x12 TX Star 906 B — FAS <BR>
 
152 — 2x12 TX Star 906 — FAS <BR>
 
153 — 2x12 TX Star 4047 B — FAS <BR>
 
154 — 2x12 TX Star 4047 — FAS <BR>
 
<BR>
 
Based on a Mesa Boogie 2x12 horizontal Rectifier cabinet with 70w V30 speakers. Source: Cab Pack 23: ML USA Citrus 2x12 <BR>
 
155 — 2x12 USA 57 A1 ML — ML Sound Lab <BR>
 
156 — 2x12 USA 121 A1 ML — ML Sound Lab <BR>
 
157 — 2x12 USA 421 B1 ML — ML Sound Lab <BR>
 
158 — 2x12 USA 906 B1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Zilla Cabs Modern 2x12 cab with Celestion Cream Alnico speakers, created in collaboration with Misha “Bulb” Mansoor (Periphery). Source: ML Bulb Zilla <BR>
 
159 — 2x12 Zilla Cream ALN 57 1 ML — ML Sound Lab <BR>
 
160 — 2x12 Zilla Cream ALN 121 1 ML — ML Sound Lab <BR>
 
161 — 2x12 Zilla Cream ALN 160 1 ML — ML Sound Lab <BR>
 
162 — 2x12 Zilla Cream ALN 421 1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Zilla Cabs Custom Fatboy 2x12 with Celestion G12H-75 Creamback speakers, created in collaboration with Misha “Bulb” Mansoor (Periphery). Source: ML Bulb Zilla <BR>
 
163 — 2x12 Zilla Cream H 57 1 ML — ML Sound Lab <BR>
 
164 — 2x12 Zilla Cream H 121 1 ML — ML Sound Lab <BR>
 
165 — 2x12 Zilla Cream H 160 1 ML — ML Sound Lab <BR>
 
166 — 2x12 Zilla Cream H 421 1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Zilla Cabs Custom Fatboy 2x12 with V30 speakers, created in collaboration with Misha “Bulb” Mansoor (Periphery). Source: ML Bulb Zilla <BR>
 
167 — 2x12 Zilla V30 57 1 ML — ML Sound Lab <BR>
 
168 — 2x12 Zilla V30 121 1 ML — ML Sound Lab <BR>
 
169 — 2x12 Zilla V30 160 1 ML — ML Sound Lab <BR>
 
170 — 2x12 Zilla V30 421 1 ML — ML Sound Lab <BR>
 
<BR>
 
Based on a Celestion Cream speaker in a 2x12 closed-back cab. Source: Celestion Plus <BR>
 
171 — 2x12c Cel Cream 121 Fat CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Classic Lead 80 speaker in a 2x12 closed-back cab. Source: Celestion Plus <BR>
 
172 — 2x12c Clsc Lead 80 121 Thin CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12-65 speaker in a 2x12 closed-back cab. Source: Celestion Plus <BR>
 
173 — 2x12c G12-65 57 Dk2 CEL — Celestion <BR>
 
174 — 2x12c G12-65 107 Room_L CEL — Celestion <BR>
 
175 — 2x12c G12-65 107 Room_R CEL — Celestion <BR>
 
176 — 2x12c G12-65 121 Dk CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12H-150 Redback speaker in a 2x12 closed-back cab. Source: Celestion Plus <BR>
 
177 — 2x12c G12H Redbk 421 Brt CEL — Celestion <BR>
 
178 — 2x12c G12H Redbk 421 Fat CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Vintage 30 speaker in a 2x12 closed-back cab. Source: Celestion Plus <BR>
 
179 — 2x12c V30 121 Fat CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Cream speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
180 — 2x12o Cel Cream 57 Rear CEL — Celestion <BR>
 
181 — 2x12o Cel Cream 107 Room_L CEL — Celestion <BR>
 
182 — 2x12o Cel Cream 107 Room_R CEL — Celestion <BR>
 
183 — 2x12o Cel Cream 421 Bal CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Classic Lead 80 speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
184 — 2x12o Clsc Lead 80 57 Thin CEL — Celestion <BR>
 
185 — 2x12o Clsc Lead 80 421 Dk 2 CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12-35XC speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
186 — 2x12o G12-35XC 57 Bal CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion G12M Greenback speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
187 — 2x12o G12M Greenbk 121 Bal CEL — Celestion <BR>
 
<BR>
 
Based on a Celestion Neo Creamback speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
188 — 2x12o Neo Creambk 57 Dk 2 CEL — Celestion <BR>
 
189 — 2x12o Neo Creambk 57 Rear CEL — Celestion <BR>
 
<BR>
 
Based on a V30 speaker in a 2x12 open-back cab. Source: Celestion Plus <BR>
 
190 — 2x12o V30 107 Room_L CEL — Celestion <BR>
 
191 — 2x12o V30 107 Room_R CEL — Celestion <BR>
 
<BR>
 
Based upon a 1995 pre-Fender SWR Workingman’s 12 Combo 1x12 plus tweeter bass amp cabinet loaded with the original 1x12 Celestion K12T-200 proprietary speaker and SWR tweeter. M160 in Cone position + Crown PZM. MicDI method <BR>
 
192 — 1x12 WMAN1 160+PZM DB — DB <BR>
 
<BR>
 
Based on a 2009 Trace Elliot 1x15 TE1518 bass cabinet featuring the original 15" Celestion bass speaker. Sennheiser MD441 in Cone Position + Crown PZM. MicDI method <BR>
 
193 — 1x15 TRAEL 441+PZM DB — DB <BR>
 
<BR>
 
Based on Acoustic Model 406 Wide 2x15 bass cabinet with 2 original Eminence speakers. RE20 in Cap position + Crown PZM. MicDI method <BR>
 
194 — 2x15 AC406 RE20+PZM DB — DB <BR>
 
<BR>
 
Based on a 1990's Gallien-Krueger 410RBH 4x10+Tweeter bass cabinet with original proprietary GK speakers and tweeter. AKG D12vr in Cone position + Crown PZM. MicDI method <BR>
 
195 — 4x10 GeekRB D12+PZM DB — DB <BR>
 
<BR>
 
Based on a Fender Bassman. Source: Cab Pack 10: Universal Noise Storage Vol. 2 <BR>
 
196 — 4x10 Bassguy 57 B — FAS <BR>
 
197 — 4x10 Bassguy 57 C — FAS <BR>
 
198 — 4x10 Bassguy 57 — FAS <BR>
 
199 — 4x10 Bassguy 121 B — FAS <BR>
 
200 — 4x10 Bassguy 121 Rev — FAS <BR>
 
201 — 4x10 Bassguy 121 — FAS <BR>
 
202 — 4x10 Bassguy 160 B — FAS <BR>
 
203 — 4x10 Bassguy 160 C — FAS <BR>
 
204 — 4x10 Bassguy 160 — FAS <BR>
 
205 — 4x10 Bassguy 4047 B — FAS <BR>
 
206 — 4x10 Bassguy 4047 — FAS <BR>
 
  
</div>
+
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
=====Previous Generations=====
 +
 
 +
If we want to specifically call out comments for previous generations of the hardware, such as when it conflicts with the current generation, use:
 +
 
 +
<blockquote>
 +
'''PREVIOUS GENERATIONS'''
 +
<hr>
 +
 
 +
What hardware or app:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote that is specific to a previous generation.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 
 +
which is created using:
 +
 
 +
<pre>
 +
<blockquote>
 +
'''PREVIOUS GENERATIONS'''
 +
<hr>
 +
 
 +
What hardware or app:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote that is specific to a previous generation.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
====Quoting====
 +
 
 +
* To try to provide some continuity with the forum's quote style we changed the Wiki to call out <kbd>&lt;blockquote&gt;&lt;blockquote&gt;&lt;p&gt;…&lt;/p&gt;</kbd> wrapped blocks. See the CSS page mentioned above for the styling information.
 +
* The <kbd>&lt;p&gt;</kbd> is automatically supplied by the Wiki, we don't need to add it explicitly.
 +
 
 +
'''Note:''' See the above note about using <kbd>&lt;span&gt;</kbd>, only switching to <kbd>&lt;div&gt;</kbd>, for the same reasons.
 +
 
 +
=====Fractal Audio Quotes=====
 +
 
 +
The standard quoting for FAS employees is:
 +
 
 +
<blockquote>
 +
'''FRACTAL AUDIO QUOTES'''
 +
<hr>
 +
 
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 
 +
And created by:
 +
 
 +
<pre>
 +
<blockquote>
 +
'''FRACTAL AUDIO QUOTES'''
 +
<hr>
 +
 
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
=====Other Quotes=====
 +
 
 +
Quotes of non-FAS employees look like:
 +
 
 +
<blockquote>
 +
'''OTHER QUOTES'''
 +
<hr>
 +
 
 +
The name of whoever said it:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote from someone not affiliated with Fractal.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 
 +
And are created using:
 +
<pre>
 +
<blockquote>
 +
'''OTHER QUOTES'''
 +
<hr>
 +
 
 +
The name of whoever said it:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote from someone not affiliated with Fractal.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
=====Previous Generations=====
 +
 
 +
If we want to specifically call out comments for previous generations of the hardware, such as when it conflicts with the current generation, use:
 +
 
 +
<blockquote>
 +
'''PREVIOUS GENERATIONS'''
 +
<hr>
 +
 
 +
What hardware or app:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote that is specific to a previous generation.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
 
 +
which is created using:
 +
 
 +
<pre>
 +
<blockquote>
 +
'''PREVIOUS GENERATIONS'''
 +
<hr>
 +
 
 +
What hardware or app:
 +
<blockquote>
 +
[some url to the quote]
 +
[…] if the text is a partial quote
 +
 
 +
Some sort of quote that is specific to a previous generation.
 +
 
 +
A second paragraph of the quote.
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
=====Combining sections=====
 +
Sometimes we have multiple quoting blocks we need to incorporate. It's easy-peasy; don't totally close, then reopoen the blockquoting, just close the immediate level, insert the new heading, then begin quoting. Fer instance:
 +
 
 +
<pre>
 +
<blockquote>
 +
'''FRACTAL AUDIO'''
 +
<hr>
 +
 
 +
<blockquote>
 +
Stuffs…
 +
</blockquote>
 +
 
 +
'''OTHER STUFFS'''
 +
<hr>
 +
<blockquote>
 +
More blah
 +
</blockquote>
 +
</blockquote>
 +
</pre>
 +
 
 +
Which, in real life, looks like:
 +
<blockquote>
 +
'''FRACTAL AUDIO'''
 +
<hr>
 +
 
 +
<blockquote>
 +
Stuffs…
 +
</blockquote>
 +
 
 +
'''OTHER STUFFS'''
 +
<hr>
 +
<blockquote>
 +
More blah
 +
</blockquote>
 +
</blockquote>
 +
 
 +
 
 +
----
 +
 
 +
===SANDBOX from here down===
 +
----
 +
 
 +
FAQ:
 +
 
 +
=TOP 3 tips!=
 +
 
 +
# Check your cables.
 +
# Check your cables.
 +
# Check your cables.
 +
 
 +
The trouble is [https://forum.fractalaudio.com/threads/if-you-read-nothing-else-read-this.162537/ almost always a cable], connector, a volume knob setting, an exhausted battery, or something else very basic.
 +
 
 +
[https://forum.fractalaudio.com/threads/if-you-read-nothing-else-read-this.162537/ If you read nothing else, read this!]
 +
 
 +
[[image:Cable.jpg|100px]]
 +
 
 +
=AC Line Frequency: set for your country=
 +
 
 +
If you are using the Axe-Fx III, FM9, or FM3 in a region where AC power frequency is 50Hz instead of 60Hz, change the AC Line Frequency setting in the [[Setup menu]] for better noise gate control. Read this: [[Noise gate]]
 +
 
 +
=CPU: stay below 80%=
 +
 
 +
Keep CPU usage below the value mentioned in the [[Owners Manuals]] (around 80%). Read this: [[CPU usage]]
 +
 
 +
= Double-clicking a control in the editor does not recall the correct default value =
 +
 
 +
When double-clicking a control in the editor, it gets reset to a default value, not necessarily the default value. Only a soft-reset of the amp type (re-select) or a hard reset of the block or channel pulls the correct values from the hardware.
 +
 
 +
= Emergency boot recovery=
 +
 
 +
If, after installing new firmware, the unit no longer boots, invoke the [[Emergency boot recovery]], then use [[Fractal-Bot]] to reinstall the [[Firmware]].
 +
 
 +
=FASLINK issues=
 +
 
 +
If the [[FC-6 and FC-12 foot controllers|FC controller]] won't power on properly, or if the processor shuts down or starts blinking all lights, it's almost certainly caused by the cable. Use another standard microphone cable instead. Read this: [[FASLINK]]
 +
 
 +
= FRFR, what's that? =
 +
 
 +
[[FRFR]] = full-range, flat response. This acronym is used to describe a “neutral” speaker or speaker system that is designed to reproduce the entire audible spectrum of 20 Hz – 20kHz without emphasis or de-emphasis. Examples of FRFR systems would include studio monitors and properly designed PA systems or components. Many manufacturers are also offering FRFR systems designed specifically for direct guitar applications. Read this: [[I/O_connectivity_and_levels]]
 +
 
 +
=Global blocks won't stick=
 +
 
 +
This applies to the Axe-Fx III only: if changes to [[Global blocks]] do not longer seem to stick, or the values are off, there's no available storage space anymore.
 +
 
 +
=Hardware I/O test=
 +
 
 +
Here's how to test the input and output ports: [[Realtime Analyzer block]]
 +
 
 +
= Humbuster: which end of a cable goes where =
 +
 
 +
A [[Humbuster]] cable has a "mono" (one stripe) and a "stereo" (two stripes) end. The 'stereo" end goes into the output of the Fractal Audio device.
 +
 
 +
=Input 1 is clipping=
 +
 
 +
If a warning appears about input clipping, turn down Input 1 / Instrument Level in the [[Setup menu]]. Read this: [[I/O_connectivity_and_levels]]
 +
 
 +
= Leaving the device switched on: is it bad? =
 +
 
 +
[http://forum.fractalaudio.com/threads/left-my-axe-fx-iii-on-a-little-too-long-oops.147864/#post-1748609 No, it doesn't]
 +
 
 +
= Mobile app: is there one? =
 +
 
 +
Use [[FracPad and FracTool|FracPad]] to control the device on a tablet or smartphone.
 +
 
 +
= New to modeling, where do I start? =
 +
 
 +
Read [[Beginners]] and the official [[Owners_Manuals|Owner's Manual]]
 +
 
 +
The [https://forum.fractalaudio.com Fractal Audio Systems user forum] is where users gather to help each other and discuss various topics related to Fractal Audio and their products. The [https://forum.fractalaudio.com/forums/read-me.57/ Read Me] and [https://forum.fractalaudio.com/threads/forum-rules.25484/ Forum Rules] pages are recommended first stops.
 +
 
 +
=No sound=
 +
 
 +
[[image:hear.png|link=]]
 +
 
 +
If the device or preset doesn't produce any sound, check the following:
 +
 
 +
* CHECK YOUR CABLES!
 +
* Device has the latest firmware installed?
 +
* Input is connected to Output on the grid through blocks or shunts?
 +
* Bypass Mode in bypassed blocks is not set to “Mute”?
 +
* The physical output corresponds with the Output block instance on the grid?
 +
* Blocks are set to the correct channel?
 +
* The Cab block doesn't point to an empty user cab slot?
 +
* Volume block with an attached controller is not set to zero volume?
 +
* Output level knobs on the hardware are turned up?
 +
* FX8 has the correct "pre/post" preset config?
 +
* The Return Level in the Return block is turned up?
 +
* Noise Gate (in Input block or separate block) doesn't have its Threshold set too high?
 +
* Scene output level in Output block is turned up?
 +
* Digital audio: USB Level or AES / SPDIF is turned up in I/O?
 +
* Gain in the Global EQ isn't turned down?
 +
* Monitors or other amplification is turned on?
 +
 
 +
=Power on issues=
 +
 
 +
* [[Firmware#Emergency_boot_recovery|Emergency Boot Recovery]]
 +
* [[Presets#Bypass_corrupt_preset_at_startup | Bypass a corrupt preset at startup]]
 +
* [[Reset system parameters| Bypass global parameters at startup]]
 +
* [[Presets#Preset_appears_empty|Presets appear empty]]
 +
 
 +
=Reference sound clips=
 +
 
 +
[https://forum.fractalaudio.com/threads/soundclips-for-reference-purpose.174944/ Go to this forum thread] to hear sound clips of a factory preset (Plexi) without any tweaks, EQ-ing etc whatsoever, recorded with different guitars. This provides a reference when you think there might be something wrong with your rig.
 +
 
 +
=Reset system parameters=
 +
 
 +
[[Reset system parameters|Resetting the system parameters]] can solve mysterious issues.
 +
 
 +
= Sample rate: can I change it? =
 +
 
 +
[[I/O_connectivity_and_levels#Sample_rate_fixed_at_48kHz| No]]
 +
 
 +
=Can I copy a scene into another preset=
 +
 
 +
No.
 +
 
 +
= Second-hand unit =
 +
 
 +
* Make sure the device is connected correctly. Read this: [[I/O_connectivity_and_levels]]
 +
* Download and install the software driver for the device to work with your computer, if required. Read this: [[USB]] and [[Firmware]]
 +
* Install the [[Editors|editor]]
 +
* [[Reset system parameters]
 +
* Download the latest set of [[Factory presets]] and install them using [[Fractal-Bot]]
 +
 
 +
=Signal flow: use the meters=
 +
 
 +
The Axe-Fx III, FM9, and FM3 make it easy to see if (and where) the signal flow is interrupted:
 +
 
 +
# Go to Layout > Meters to see the meters for all blocks on the grid.
 +
# Check the Input and Output meters on the front/top panel to verify that there’s an input and output signal.
 +
# Check the blocks to detect any issues. The top two rows indicate the incoming stereo signal, the bottom two rows indicate output.
 +
 
 +
[[image:Cpu2.jpg|200px]]
 +
 
 +
= Sound is harsh and brittle =
 +
 
 +
* Perhaps you disconnected an expression pedal that controlled your Wah, and now all your presets with a Wah block have the Wah enabled.
 +
* Verify that Power Amp Modeling in the [[Setup menu]] is not turned off.
 +
* Verify that Cabinet Modeling in the [[Setup menu]] is not turned off.
 +
* If you're hearing crackling noises, check the CPU usage of the preset.
 +
 
 +
= Sound at rehearsals and gigs is not as great as at home: what can I do? =
 +
 
 +
There are multiple possible reasons:
 +
 
 +
* Broken cable
 +
* The characteristics of [[I/O_connectivity_and_levels#Close-miking|closed-miking]]
 +
* [[Fletcher-Munson]]
 +
* Amplification
 +
 
 +
[[Beginners| Luckily, you can do something about it]]
 +
 
 +
=Test tone=
 +
 
 +
If you want to make sure that the hardware is capable of generating sound, create a simple test tone:
 +
 
 +
# Add a Synth block and connect it to the grid output.
 +
# Select the Sine waveform and turn off Tracking.
 +
 
 +
= Thump: how can I get that from my traditional guitar cabinet? =
 +
 
 +
A modeler doesn't interact with a solid state amp and a traditional guitar cabinet in the same way that a tube power amp does. To get the traditional speaker cab to resonate, select an appropriate speaker impedance curve in the [[Amp block]] or detect the frequency at which your cabinet starts to resonate. To do the latter, use of these methods:
 +
 
 +
# Use a dedicated hardware meter (like from Daytona Audio) to measure the speaker.
 +
# Send a Sine wave (using the Synth block) to the speaker and change the frequency until you hear and feel the speaker resonate. Set Low Resonant Frequency in the Amp block to that frequency.
 +
# Disable the Cab block in the preset. Add a Filter after the Amp block, set to Peaking, Q at 5 and Gain at 10 dB. Start at 50 Hz, play some chugga-chugga (or use the Looper) and slowly adjust the frequency until you hear and feel the cabinet resonate. Remove the filter block, set the Amp block's Low Resonant Frequency to match.
 +
 
 +
=Tuner is off=
 +
 
 +
If the tuner seems off, and the device is digitally connected to another device, change the sample rate of the other device to 48kHz.
 +
 
 +
= Tuner screen doesn't appear=
 +
 
 +
Make sure that the Tuner is set at its first page.
 +
 
 +
= USB Audio / AES / SPDIF signal level is too low  =
 +
 
 +
Adjust the Return Level parameter in the [[Setup menu]].
 +
 
 +
=TO DO:=
 +
 
 +
== When will the editor be updated to match the firmware that just has been released? ==
 +
 
 +
"[[Soon]]". Editor updates are provided once a new, non-beta, firmware has been released. Editor updates usually lag by no more than a couple of business days.
 +
 
 +
== I updated to the beta/recent release firmware, and I don't see the new feature in the editor? ==
 +
 
 +
Sometimes a new version of the editor has to be released and installed to support the new firmware feature. Wait for the release.
 +
 
 +
== I installed an updated editor, but it still doesn't seem to work right? ==
 +
 
 +
If you installed the updated editor that was released to support the new feature, and it won't work as expected, [[Editors#Editor_updates| refresh its definitions]].
 +
 
 +
== Where can I get a copy of older versions of the firmware or editor? ==
 +
 
 +
Try the [http://archive.axefx.fr/AxeFX%20III/Firmwares/ AxeFX Archive] site.
 +
 
 +
== Do I need to reset the Amp blocks in my presets after updating the firmware? ==
 +
 
 +
Only if the firmware release notes tell you to do so. Read this: [[Amp_block#Resetting_the_amp|Reset Amp]]
 +
 
 +
== Where can I find the names of the real amps on which the models are based? ==
 +
 
 +
Read this: [[Amplifier models list]].
 +
 
 +
For in-depth information about each amp model, read: [[Yeks_Guide_to_the_Fractal_Audio_Amp_Models|Yek's Guide to the Fractal Audio Amp Models]]
 +
 
 +
== Where can I find more information about the stock cabs? ==
 +
 
 +
Read this: [[Cabinet models list]].
 +
 
 +
== Why doesn’t this virtual amp model sound the same as my real amp? ==
 +
 
 +
The sound of a traditional amp (combo or head + cab) is often referred to as: amp in the room. The use of a speaker cabinet with its specific directional characteristics, not being miked, differs greatly from a close-miked speaker, captured as an IR, which is then used in a direct signal going to a mixer or studio monitors or FR amplification.
 +
 
 +
The direct signal has more lows and highs too because of the proximity effect (distance between mic and speaker). Also, the directivity of studio monitors and FR speakers differs greatly from guitar speakers.
 +
 
 +
If you want the same sound, use the FAS modeler without cabinet modeling and amplify it:
 +
* with Power Amp Modeling enabled: through a neutral power amp and a traditional guitar cabinet
 +
* with Power Amp Modeling disabled: through a traditional guitar tube amp and a traditional guitar cabinet.
 +
 
 +
== Is a generic preamp-only or power amp-only amp type available? ==
 +
 
 +
No. But you can disable the power amp section of any [[Amp block]]. In Cygnus firmware, there's a dedicated switch for this. And you can use the TUBE PRE amp model to operate either as a generic preamp or power amp block.
 +
 
 +
== What happens when I reset an Amp block? ==
 +
 
 +
A soft reset (performed by re-selecting the amp type) resets most of the parameters. A hard reset resets all parameters. Read this: [[Amp_block#Reset_the_amp|Amp reset]]
 +
 
 +
== Is it possible to show (only) the amp controls that are present on the modeled amp? ==
 +
 
 +
Set Tone Control Display to: Authentic.
 +
 
 +
== How do I return to a scene in the state I left it? ==
 +
 
 +
The default behavior for recalling scenes is that the blocks are recalled in their stored states. Scene Revert in the [[Setup menu]] lets you change this. Set this to ON, to be able to return to a scene in the state you left it.
 +
 
 +
== How do I import a preset created on another FAS product? ==
 +
 
 +
With Fractal Audio current guitar processors presets are cross-compatible. [[FracPad and FracTool|FracTool]] offers additional conversion functionality.
 +
 
 +
== Can I overwrite factory presets? ==
 +
 
 +
Yes. Factory presets occupy regular preset slots, which are not read-only.
 +
 
 +
== How do I reload a factory preset? ==
 +
 
 +
Read this: [[Factory presets]]
 +
 
 +
== How do I copy a channel? ==
 +
 
 +
The editors for the Axe-Fx III, FM9 ands FM3 let you copy a single channel through the Channel menu at the bottom of the window. You can also use the Layout > Tools menu on the hardware. At the time of writing, swapping channels is not supported.
 +
 
 +
== Can each scene within a single preset contain different blocks? ==
 +
 
 +
No. A preset always has 8 scenes, and all scenes have the same routing and block.
 +
 
 +
You can do the following per scene:
 +
* set the bypass state of each block
 +
* control the output level of the scene
 +
* set a block to X or Y, or on the Axe-Fx III / FM9 / FM3: to a specific channel.
 +
* set scene controllers
 +
* name scenes
 +
 
 +
== Input Level in I/O menu: does it prevent output clipping or make the signal softer or louder? ==
 +
 
 +
No. Input Level in the [[Setup menu]] lets you the optimal input level for SNR: Signal to Noise Ratio. It does NOT prevent output clipping (indicated by the output LED) and it does NOT make the signal softer or louder and it does NOT change the gain of the amp.
 +
 
 +
== What's phase cancellation or comb filtering, and why should I worry? ==
 +
 
 +
Read this: [[Mono and stereo]]
 +
 
 +
== Why does the volume decrease or increase when I bypass an effect in a parallel row? ==
 +
 
 +
You have to set the parameters correctly for a single effect in as parallel row. Set Mix to 100%, Bypass Mode to Mute In, and set Level as desired (or set Level to 0, and adjust Input Gain). Read this: [[Presets#Series_and_parallel_routing|Series and parallel routing]]
 +
 
 +
== How do I lower the CPU usage of a preset? ==
 +
 
 +
Read this: [[CPU usage]]
 +
 
 +
== Why should I place an effect before (PRE) or after (POST) the amp or cab? ==
 +
 
 +
Sonically speaking, the main reason to care about PRE vs. POST is that a given effect will sound different when placed BEFORE or AFTER the amp (the place where distortion occurs).
 +
 
 +
How does this difference sound? If you’ve ever switched the sequence of traditional DRIVE and WAH pedals, you’ve heard an excellent example. In the case of wah before overdrive, the resonant filter of the wah “excites” the overdrive in a cool way while still retaining a natural overall tone. When the wah follows distortion, you might hear a more dramatic filtered sweep—with heavy distortion it can get almost synth-like—which might be considered less “classic.” It’s not surprising then that Wah would traditionally be a run as a “PRE” effect between guitar and amp. The amp’s distortion follows the wah effect. Many other effects fall in this same category.
 +
 
 +
A different example is found in overdrive with reverb and delay. In the natural world, reverb and echo occur because of open spaces around your guitar amp – like a club or concert hall. These effects would therefore NOT be heard before a distorted amp, but after it. Recording studios often add these kinds of effects at the console—after the mic has picked up the distorted sound from the guitar amp. If you wanted to produce this natural sounding reverb or delay, these effects would likely be run “POST.” This is not to say that delay or reverb before distortion is a “no-no.” Many “legendary” tones came from echo units in front of an amp—but this effect is very different from “POST” delay—not only tonally, but also in terms of dynamics.
 +
 
 +
== Why is my block stuck in bypass mode? ==
 +
 
 +
The most likely culprit is that you have a modifier assigned to a parameter in the block that is set to [[Auto-Engage]] the block when you change the external controller associated with the block. For example, you have a Wah block with an external controller assigned as a modifier of the Control parameter in the block. In that modifier definition you've set up [[Auto-Engage]] so the wah block turns on when you rock the expression and off when you return the pedal to the "toe up" position. These settings would prevent you from un-bypassing or bypassing the block using any other means other than rocking or parking the expression pedal.
 +
 
 +
== Where do I find the Metronome settings? ==
 +
 
 +
In the Tempo menu.
 +
 
 +
== Does the device provide a Limiter? ==
 +
 +
In the Compressor block, set Ratio to Infinity" to turn it into a limiter. Read this: [[Compressor block]]
 +
 
 +
== Why don't I hear repeats from the 2290 delay type? ==
 +
 
 +
The 2290 delay type has phase on one side reversed and must be heard in stereo. If the signal is summed to mono after the Delay block, delay repeats will disappear because of phase cancellation.
 +
 
 +
== Why can't I adjust the time (milliseconds) in a Delay block? ==
 +
 
 +
If the Delay block is set to a specific Tempo, e.g. "1/4", you can't adjust the number of milliseconds.
 +
 
 +
== How do I boost the volume level of my solos? ==
 +
 
 +
Add a "null" Filter or a GEQ block at the end of the chain, with increased Level (try 3 to 4 dB).
 +
 
 +
==Why don't the fuzz models sound and respond as their real counterparts? ==
 +
 
 +
The Fractal Audio device acts as a buffer and many fuzzes don't like that, because they depend on direct interaction with the guitar's pickups. It's the same with the virtual fuzz models. To improve the authentic behavior of a virtual fuzz model, make sure it's the first non-bypassed block following the Input 1 block and the input block impedance must be set to Auto. Read this: [[Drive_block]]
 +
 
 +
==Where do I find more information about a Drive model?==
 +
 
 +
Read this: [[Drive block]]
 +
 
 +
== Why am I hearing clicks and crackling noise in my preset? ==
 +
 
 +
Check the CPU usage of the preset. If it's above the limit then crackling noises may occur. Read this: [[CPU usage]]
 +
 
 +
If you hear a tick in your audio signal which syncs to the tempo, and it's not the Metronome, it's probably MIDI noise bleeding into the signal. You can easily check this by turning off Send Realtime Sysex in the Setup menu. If the noise stops, it's indeed caused by the MIDI cabling. Use better MIDI cables and keep the MIDI cables away from problematic sources.
 +
 
 +
== The Axe-Fx III display shows several lines of text information on startup. Is this normal? ==
 +
 
 +
Yes.
 +
 
 +
==Why is the output level of the Axe-Fx III lower than that of the II? ==
 +
 
 +
The default nominal output level of Output 1 and 2 on the Axe-Fx III is -10 dBv. This was done to reduce the number of support cases due to people overloading the inputs on consumer-grade interfaces, mixers, etc. Most professional gear runs at +4 dBu, so when using a pro-grade interface, mixer, etc., you may want to go into the I/O menu and change the Output Level to +4 dBu.
 +
 
 +
== I want to use Input/Output 2, 3 or 4 as an effects loop but I don't hear the signal ==
 +
 
 +
Turn up the output level knob on the front panel.
 +
 
 +
== FAQ on the Fractal Audio forum ==
 +
Read the [https://forum.fractalaudio.com/threads/fm3-faq.158819/ FM-3 FAQ] in the forum.
 +
 
 +
== Why doesn't the editor or Fractal-Bot recognize the unit? ==
 +
 
 +
On some computers the editor and Fractal-Bot will work only if a driver has been installed. Check the system requirements and download the driver from Fractal Audio's [http://www.fractalaudio.com/support/Downloads downloads page] if needed.
 +
 
 +
== Does the editor allow offline editing? ==
 +
 
 +
No. The editor must be connected to the hardware to operate. This is a design choice which is unlikely to change.
 +
 
 +
== Why do I have to press Save twice when changing the preset title? ==
 +
 
 +
You don't have to do that. When editing the preset title field, make sure to press Enter to make the editor aware of the title. Then press Save to store.
 +
 
 +
== How do I use Manage Presets and Manage Cabs? ==
 +
 
 +
<code>Manage Presets</code> and <code>Manage Cabs</code> use a Browser pane at the left of the window. To show or hide the Browser pane click on the Browser menu at the top-left of Axe-Manage and choose "<code>Show / Hide</code>". Or use the key sequence <kbd>CTRL</kbd>+<kbd>B</kbd> on Windows or <kbd>CMD</kbd>+<kbd>B</kbd> on MacOS.
 +
 
 +
== Do I have to convert IRs in <kbd>.wav</kbd> format before using them in an editor? ==
 +
 
 +
No. The editor can import <kbd>.wav</kbd> files directly. Simply drag-and-drop any number of <kbd>.wav</kbd> files into the Browser pane to allow conversion. From the Browser pane you can now either Auto-Audition the files to a Scratchpad or drag from the Browser pane to a User cab slot.
 +
 
 +
To convert a batch of Wave files, use [[Cab-Lab]].
 +
 
 +
== Expression pedal ==
 +
 
 +
see:
 +
https://wiki.fractalaudio.com/wiki/index.php?title=Expression_pedals_and_external_switches#Tips.2C_tricks_and_troubleshooting

Latest revision as of 12:37, 1 November 2024

Contents

Tidbits

  • TOC
  • * faq
  • crosslinks
  • redirects
  • pic
  • layout (template)

[...]

Sidebar

Sitenotice

random page

category ALL

embed/transclute page: {{:}}

Example:

Soon is the canonical answer to the question: When will thing X be available?

Font Size 1 Font Size 2 Font Size 3 Font Size 4 Font Size 5

Parameter Axe-Fx III Axe-Fx II AX8, FX8

A very uninteresting test edit by iaresee

Really Righteous Reading and References

Become accquainted with this page, then see the following pages for more information:

Start here and do NOT pass Go. Do it. You know you want to….

At this point the world is your oyster, use your brand-spankin' new sandbox for any experimenting or editing…

In particular this is important:

Write link text so that it describes the content of the link target. Avoid using ambiguous link text, such as ‘click here’ or ‘read more’. Indicate relevant information about the link target, such as document type and size, for example, ‘Proposal Documents (RTF, 20MB)’.:

This is bad:

For more information on device independence, click here.

This is good:

Read more about device independence.

A Wiki's content tagging system makes it really easy to create links that fail to tell the user what is a the far side of a link, especially when used with alternate devices like screen readers.

CSS Styles

Before you begin:

See:

Keycaps: Command

<kbd class="keycap">Command</kbd>

These are mostly used in the Editors page, particularly in the Keyboard shortcuts section.

Application Button: A button

<span class="button">A button</span>

NOTE: The following uses of <samp> and <code> should probably be changed to <span> with an appropriate "class" defined. Currently they're relying on the default MediaWiki CSS styling, which results in us being at their mercy if they change something. We should be the masters of our own destiny, or the creators of our own version of hell, something like that. It doesn't take a lot of work to let vim walk through the Wiki pages and replace occurrances if it seems the thing to do. - Greg Ferguson

The <samp> tag:

<samp>This is something typed into the computer, or a file .ext</samp>

is rendered as:

This is something typed into the computer, or a file .ext

The <code> tag:

<code>Something from the interface/menus in Edit or Cab-Lab</code>

is rendered as:

Something from the interface/menus in Edit or Cab-Lab

Quoting

  • To try to provide some continuity with the forum's quote style we changed the Wiki to call out <blockquote><blockquote><p>…</p> wrapped blocks. See the CSS page mentioned above for the styling information.
  • The <p> is automatically supplied by the Wiki, we don't need to add it explicitly.

Note: See the above note about using <span>, only switching to <div>, for the same reasons.

Fractal Audio Quotes

The standard quoting for FAS employees is:

FRACTAL AUDIO QUOTES


[some url to the quote] […] if the text is a partial quote

Some sort of quote

A second paragraph of the quote.

And created by:

<blockquote>
'''FRACTAL AUDIO QUOTES'''
<hr>

<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote

A second paragraph of the quote.
</blockquote>
</blockquote>
Other Quotes

Quotes of non-FAS employees look like:

OTHER QUOTES


The name of whoever said it:

[some url to the quote] […] if the text is a partial quote

Some sort of quote from someone not affiliated with Fractal.

A second paragraph of the quote.

And are created using:

<blockquote>
'''OTHER QUOTES'''
<hr>

The name of whoever said it:
<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote from someone not affiliated with Fractal.

A second paragraph of the quote.
</blockquote>
</blockquote>
Previous Generations

If we want to specifically call out comments for previous generations of the hardware, such as when it conflicts with the current generation, use:

PREVIOUS GENERATIONS


What hardware or app:

[some url to the quote] […] if the text is a partial quote

Some sort of quote that is specific to a previous generation.

A second paragraph of the quote.

which is created using:

<blockquote>
'''PREVIOUS GENERATIONS'''
<hr>

What hardware or app:
<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote that is specific to a previous generation.

A second paragraph of the quote.
</blockquote>
</blockquote>

Quoting

  • To try to provide some continuity with the forum's quote style we changed the Wiki to call out <blockquote><blockquote><p>…</p> wrapped blocks. See the CSS page mentioned above for the styling information.
  • The <p> is automatically supplied by the Wiki, we don't need to add it explicitly.

Note: See the above note about using <span>, only switching to <div>, for the same reasons.

Fractal Audio Quotes

The standard quoting for FAS employees is:

FRACTAL AUDIO QUOTES


[some url to the quote] […] if the text is a partial quote

Some sort of quote

A second paragraph of the quote.

And created by:

<blockquote>
'''FRACTAL AUDIO QUOTES'''
<hr>

<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote

A second paragraph of the quote.
</blockquote>
</blockquote>
Other Quotes

Quotes of non-FAS employees look like:

OTHER QUOTES


The name of whoever said it:

[some url to the quote] […] if the text is a partial quote

Some sort of quote from someone not affiliated with Fractal.

A second paragraph of the quote.

And are created using:

<blockquote>
'''OTHER QUOTES'''
<hr>

The name of whoever said it:
<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote from someone not affiliated with Fractal.

A second paragraph of the quote.
</blockquote>
</blockquote>
Previous Generations

If we want to specifically call out comments for previous generations of the hardware, such as when it conflicts with the current generation, use:

PREVIOUS GENERATIONS


What hardware or app:

[some url to the quote] […] if the text is a partial quote

Some sort of quote that is specific to a previous generation.

A second paragraph of the quote.

which is created using:

<blockquote>
'''PREVIOUS GENERATIONS'''
<hr>

What hardware or app:
<blockquote>
[some url to the quote]
[…] if the text is a partial quote

Some sort of quote that is specific to a previous generation.

A second paragraph of the quote.
</blockquote>
</blockquote>
Combining sections

Sometimes we have multiple quoting blocks we need to incorporate. It's easy-peasy; don't totally close, then reopoen the blockquoting, just close the immediate level, insert the new heading, then begin quoting. Fer instance:

<blockquote>
'''FRACTAL AUDIO'''
<hr>

<blockquote>
Stuffs…
</blockquote>

'''OTHER STUFFS'''
<hr>
<blockquote>
More blah
</blockquote>
</blockquote>

Which, in real life, looks like:

FRACTAL AUDIO


Stuffs…

OTHER STUFFS


More blah



SANDBOX from here down


FAQ:

TOP 3 tips!

  1. Check your cables.
  2. Check your cables.
  3. Check your cables.

The trouble is almost always a cable, connector, a volume knob setting, an exhausted battery, or something else very basic.

If you read nothing else, read this!

Cable.jpg

AC Line Frequency: set for your country

If you are using the Axe-Fx III, FM9, or FM3 in a region where AC power frequency is 50Hz instead of 60Hz, change the AC Line Frequency setting in the Setup menu for better noise gate control. Read this: Noise gate

CPU: stay below 80%

Keep CPU usage below the value mentioned in the Owners Manuals (around 80%). Read this: CPU usage

Double-clicking a control in the editor does not recall the correct default value

When double-clicking a control in the editor, it gets reset to a default value, not necessarily the default value. Only a soft-reset of the amp type (re-select) or a hard reset of the block or channel pulls the correct values from the hardware.

Emergency boot recovery

If, after installing new firmware, the unit no longer boots, invoke the Emergency boot recovery, then use Fractal-Bot to reinstall the Firmware.

FASLINK issues

If the FC controller won't power on properly, or if the processor shuts down or starts blinking all lights, it's almost certainly caused by the cable. Use another standard microphone cable instead. Read this: FASLINK

FRFR, what's that?

FRFR = full-range, flat response. This acronym is used to describe a “neutral” speaker or speaker system that is designed to reproduce the entire audible spectrum of 20 Hz – 20kHz without emphasis or de-emphasis. Examples of FRFR systems would include studio monitors and properly designed PA systems or components. Many manufacturers are also offering FRFR systems designed specifically for direct guitar applications. Read this: I/O_connectivity_and_levels

Global blocks won't stick

This applies to the Axe-Fx III only: if changes to Global blocks do not longer seem to stick, or the values are off, there's no available storage space anymore.

Hardware I/O test

Here's how to test the input and output ports: Realtime Analyzer block

Humbuster: which end of a cable goes where

A Humbuster cable has a "mono" (one stripe) and a "stereo" (two stripes) end. The 'stereo" end goes into the output of the Fractal Audio device.

Input 1 is clipping

If a warning appears about input clipping, turn down Input 1 / Instrument Level in the Setup menu. Read this: I/O_connectivity_and_levels

Leaving the device switched on: is it bad?

No, it doesn't

Mobile app: is there one?

Use FracPad to control the device on a tablet or smartphone.

New to modeling, where do I start?

Read Beginners and the official Owner's Manual

The Fractal Audio Systems user forum is where users gather to help each other and discuss various topics related to Fractal Audio and their products. The Read Me and Forum Rules pages are recommended first stops.

No sound

Hear.png

If the device or preset doesn't produce any sound, check the following:

  • CHECK YOUR CABLES!
  • Device has the latest firmware installed?
  • Input is connected to Output on the grid through blocks or shunts?
  • Bypass Mode in bypassed blocks is not set to “Mute”?
  • The physical output corresponds with the Output block instance on the grid?
  • Blocks are set to the correct channel?
  • The Cab block doesn't point to an empty user cab slot?
  • Volume block with an attached controller is not set to zero volume?
  • Output level knobs on the hardware are turned up?
  • FX8 has the correct "pre/post" preset config?
  • The Return Level in the Return block is turned up?
  • Noise Gate (in Input block or separate block) doesn't have its Threshold set too high?
  • Scene output level in Output block is turned up?
  • Digital audio: USB Level or AES / SPDIF is turned up in I/O?
  • Gain in the Global EQ isn't turned down?
  • Monitors or other amplification is turned on?

Power on issues

Reference sound clips

Go to this forum thread to hear sound clips of a factory preset (Plexi) without any tweaks, EQ-ing etc whatsoever, recorded with different guitars. This provides a reference when you think there might be something wrong with your rig.

Reset system parameters

Resetting the system parameters can solve mysterious issues.

Sample rate: can I change it?

No

Can I copy a scene into another preset

No.

Second-hand unit

Signal flow: use the meters

The Axe-Fx III, FM9, and FM3 make it easy to see if (and where) the signal flow is interrupted:

  1. Go to Layout > Meters to see the meters for all blocks on the grid.
  2. Check the Input and Output meters on the front/top panel to verify that there’s an input and output signal.
  3. Check the blocks to detect any issues. The top two rows indicate the incoming stereo signal, the bottom two rows indicate output.

Cpu2.jpg

Sound is harsh and brittle

  • Perhaps you disconnected an expression pedal that controlled your Wah, and now all your presets with a Wah block have the Wah enabled.
  • Verify that Power Amp Modeling in the Setup menu is not turned off.
  • Verify that Cabinet Modeling in the Setup menu is not turned off.
  • If you're hearing crackling noises, check the CPU usage of the preset.

Sound at rehearsals and gigs is not as great as at home: what can I do?

There are multiple possible reasons:

Luckily, you can do something about it

Test tone

If you want to make sure that the hardware is capable of generating sound, create a simple test tone:

  1. Add a Synth block and connect it to the grid output.
  2. Select the Sine waveform and turn off Tracking.

Thump: how can I get that from my traditional guitar cabinet?

A modeler doesn't interact with a solid state amp and a traditional guitar cabinet in the same way that a tube power amp does. To get the traditional speaker cab to resonate, select an appropriate speaker impedance curve in the Amp block or detect the frequency at which your cabinet starts to resonate. To do the latter, use of these methods:

  1. Use a dedicated hardware meter (like from Daytona Audio) to measure the speaker.
  2. Send a Sine wave (using the Synth block) to the speaker and change the frequency until you hear and feel the speaker resonate. Set Low Resonant Frequency in the Amp block to that frequency.
  3. Disable the Cab block in the preset. Add a Filter after the Amp block, set to Peaking, Q at 5 and Gain at 10 dB. Start at 50 Hz, play some chugga-chugga (or use the Looper) and slowly adjust the frequency until you hear and feel the cabinet resonate. Remove the filter block, set the Amp block's Low Resonant Frequency to match.

Tuner is off

If the tuner seems off, and the device is digitally connected to another device, change the sample rate of the other device to 48kHz.

Tuner screen doesn't appear

Make sure that the Tuner is set at its first page.

USB Audio / AES / SPDIF signal level is too low

Adjust the Return Level parameter in the Setup menu.

TO DO:

When will the editor be updated to match the firmware that just has been released?

"Soon". Editor updates are provided once a new, non-beta, firmware has been released. Editor updates usually lag by no more than a couple of business days.

I updated to the beta/recent release firmware, and I don't see the new feature in the editor?

Sometimes a new version of the editor has to be released and installed to support the new firmware feature. Wait for the release.

I installed an updated editor, but it still doesn't seem to work right?

If you installed the updated editor that was released to support the new feature, and it won't work as expected, refresh its definitions.

Where can I get a copy of older versions of the firmware or editor?

Try the AxeFX Archive site.

Do I need to reset the Amp blocks in my presets after updating the firmware?

Only if the firmware release notes tell you to do so. Read this: Reset Amp

Where can I find the names of the real amps on which the models are based?

Read this: Amplifier models list.

For in-depth information about each amp model, read: Yek's Guide to the Fractal Audio Amp Models

Where can I find more information about the stock cabs?

Read this: Cabinet models list.

Why doesn’t this virtual amp model sound the same as my real amp?

The sound of a traditional amp (combo or head + cab) is often referred to as: amp in the room. The use of a speaker cabinet with its specific directional characteristics, not being miked, differs greatly from a close-miked speaker, captured as an IR, which is then used in a direct signal going to a mixer or studio monitors or FR amplification.

The direct signal has more lows and highs too because of the proximity effect (distance between mic and speaker). Also, the directivity of studio monitors and FR speakers differs greatly from guitar speakers.

If you want the same sound, use the FAS modeler without cabinet modeling and amplify it:

  • with Power Amp Modeling enabled: through a neutral power amp and a traditional guitar cabinet
  • with Power Amp Modeling disabled: through a traditional guitar tube amp and a traditional guitar cabinet.

Is a generic preamp-only or power amp-only amp type available?

No. But you can disable the power amp section of any Amp block. In Cygnus firmware, there's a dedicated switch for this. And you can use the TUBE PRE amp model to operate either as a generic preamp or power amp block.

What happens when I reset an Amp block?

A soft reset (performed by re-selecting the amp type) resets most of the parameters. A hard reset resets all parameters. Read this: Amp reset

Is it possible to show (only) the amp controls that are present on the modeled amp?

Set Tone Control Display to: Authentic.

How do I return to a scene in the state I left it?

The default behavior for recalling scenes is that the blocks are recalled in their stored states. Scene Revert in the Setup menu lets you change this. Set this to ON, to be able to return to a scene in the state you left it.

How do I import a preset created on another FAS product?

With Fractal Audio current guitar processors presets are cross-compatible. FracTool offers additional conversion functionality.

Can I overwrite factory presets?

Yes. Factory presets occupy regular preset slots, which are not read-only.

How do I reload a factory preset?

Read this: Factory presets

How do I copy a channel?

The editors for the Axe-Fx III, FM9 ands FM3 let you copy a single channel through the Channel menu at the bottom of the window. You can also use the Layout > Tools menu on the hardware. At the time of writing, swapping channels is not supported.

Can each scene within a single preset contain different blocks?

No. A preset always has 8 scenes, and all scenes have the same routing and block.

You can do the following per scene:

  • set the bypass state of each block
  • control the output level of the scene
  • set a block to X or Y, or on the Axe-Fx III / FM9 / FM3: to a specific channel.
  • set scene controllers
  • name scenes

Input Level in I/O menu: does it prevent output clipping or make the signal softer or louder?

No. Input Level in the Setup menu lets you the optimal input level for SNR: Signal to Noise Ratio. It does NOT prevent output clipping (indicated by the output LED) and it does NOT make the signal softer or louder and it does NOT change the gain of the amp.

What's phase cancellation or comb filtering, and why should I worry?

Read this: Mono and stereo

Why does the volume decrease or increase when I bypass an effect in a parallel row?

You have to set the parameters correctly for a single effect in as parallel row. Set Mix to 100%, Bypass Mode to Mute In, and set Level as desired (or set Level to 0, and adjust Input Gain). Read this: Series and parallel routing

How do I lower the CPU usage of a preset?

Read this: CPU usage

Why should I place an effect before (PRE) or after (POST) the amp or cab?

Sonically speaking, the main reason to care about PRE vs. POST is that a given effect will sound different when placed BEFORE or AFTER the amp (the place where distortion occurs).

How does this difference sound? If you’ve ever switched the sequence of traditional DRIVE and WAH pedals, you’ve heard an excellent example. In the case of wah before overdrive, the resonant filter of the wah “excites” the overdrive in a cool way while still retaining a natural overall tone. When the wah follows distortion, you might hear a more dramatic filtered sweep—with heavy distortion it can get almost synth-like—which might be considered less “classic.” It’s not surprising then that Wah would traditionally be a run as a “PRE” effect between guitar and amp. The amp’s distortion follows the wah effect. Many other effects fall in this same category.

A different example is found in overdrive with reverb and delay. In the natural world, reverb and echo occur because of open spaces around your guitar amp – like a club or concert hall. These effects would therefore NOT be heard before a distorted amp, but after it. Recording studios often add these kinds of effects at the console—after the mic has picked up the distorted sound from the guitar amp. If you wanted to produce this natural sounding reverb or delay, these effects would likely be run “POST.” This is not to say that delay or reverb before distortion is a “no-no.” Many “legendary” tones came from echo units in front of an amp—but this effect is very different from “POST” delay—not only tonally, but also in terms of dynamics.

Why is my block stuck in bypass mode?

The most likely culprit is that you have a modifier assigned to a parameter in the block that is set to Auto-Engage the block when you change the external controller associated with the block. For example, you have a Wah block with an external controller assigned as a modifier of the Control parameter in the block. In that modifier definition you've set up Auto-Engage so the wah block turns on when you rock the expression and off when you return the pedal to the "toe up" position. These settings would prevent you from un-bypassing or bypassing the block using any other means other than rocking or parking the expression pedal.

Where do I find the Metronome settings?

In the Tempo menu.

Does the device provide a Limiter?

In the Compressor block, set Ratio to Infinity" to turn it into a limiter. Read this: Compressor block

Why don't I hear repeats from the 2290 delay type?

The 2290 delay type has phase on one side reversed and must be heard in stereo. If the signal is summed to mono after the Delay block, delay repeats will disappear because of phase cancellation.

Why can't I adjust the time (milliseconds) in a Delay block?

If the Delay block is set to a specific Tempo, e.g. "1/4", you can't adjust the number of milliseconds.

How do I boost the volume level of my solos?

Add a "null" Filter or a GEQ block at the end of the chain, with increased Level (try 3 to 4 dB).

Why don't the fuzz models sound and respond as their real counterparts?

The Fractal Audio device acts as a buffer and many fuzzes don't like that, because they depend on direct interaction with the guitar's pickups. It's the same with the virtual fuzz models. To improve the authentic behavior of a virtual fuzz model, make sure it's the first non-bypassed block following the Input 1 block and the input block impedance must be set to Auto. Read this: Drive_block

Where do I find more information about a Drive model?

Read this: Drive block

Why am I hearing clicks and crackling noise in my preset?

Check the CPU usage of the preset. If it's above the limit then crackling noises may occur. Read this: CPU usage

If you hear a tick in your audio signal which syncs to the tempo, and it's not the Metronome, it's probably MIDI noise bleeding into the signal. You can easily check this by turning off Send Realtime Sysex in the Setup menu. If the noise stops, it's indeed caused by the MIDI cabling. Use better MIDI cables and keep the MIDI cables away from problematic sources.

The Axe-Fx III display shows several lines of text information on startup. Is this normal?

Yes.

Why is the output level of the Axe-Fx III lower than that of the II?

The default nominal output level of Output 1 and 2 on the Axe-Fx III is -10 dBv. This was done to reduce the number of support cases due to people overloading the inputs on consumer-grade interfaces, mixers, etc. Most professional gear runs at +4 dBu, so when using a pro-grade interface, mixer, etc., you may want to go into the I/O menu and change the Output Level to +4 dBu.

I want to use Input/Output 2, 3 or 4 as an effects loop but I don't hear the signal

Turn up the output level knob on the front panel.

FAQ on the Fractal Audio forum

Read the FM-3 FAQ in the forum.

Why doesn't the editor or Fractal-Bot recognize the unit?

On some computers the editor and Fractal-Bot will work only if a driver has been installed. Check the system requirements and download the driver from Fractal Audio's downloads page if needed.

Does the editor allow offline editing?

No. The editor must be connected to the hardware to operate. This is a design choice which is unlikely to change.

Why do I have to press Save twice when changing the preset title?

You don't have to do that. When editing the preset title field, make sure to press Enter to make the editor aware of the title. Then press Save to store.

How do I use Manage Presets and Manage Cabs?

Manage Presets and Manage Cabs use a Browser pane at the left of the window. To show or hide the Browser pane click on the Browser menu at the top-left of Axe-Manage and choose "Show / Hide". Or use the key sequence CTRL+B on Windows or CMD+B on MacOS.

Do I have to convert IRs in .wav format before using them in an editor?

No. The editor can import .wav files directly. Simply drag-and-drop any number of .wav files into the Browser pane to allow conversion. From the Browser pane you can now either Auto-Audition the files to a Scratchpad or drag from the Browser pane to a User cab slot.

To convert a batch of Wave files, use Cab-Lab.

Expression pedal

see: https://wiki.fractalaudio.com/wiki/index.php?title=Expression_pedals_and_external_switches#Tips.2C_tricks_and_troubleshooting